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Not taking the Becher’s name in vain was once the sole Düsseldorf school commandment. Welling trained elsewhere and, besides, his claim on typology is also a decades-long story. Yet this two-venue paring of the three photographers’ deadpan architectural meditations is a dead giveaway of Welling as a mere imitator.

Perhaps. The Bechers recorded industrial phenomena with such restraint that their lens critique was evident in even a single snapshot. Welling’s veneration of brutalist concrete – his lens turns to Washington’s infamous HUD building now outlawed under Trump’s classical architecture edict – borders on a fetish by contrast. But if one no longer needs to look at Bernd and Hilla’s grain silos, Welling’s quasi-opportunistic fixation leads to fresher discoveries.


notes and notices are short and curt exhibition reviews. Read more:

Judith Dean at South Parade ★★★★☆

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Holbein’s skulls impresses no one anymore.

Place Revisited at Modern Art ★★★★☆

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One suspects the gallery of insider trading.

Amanda Wall, Femcel at Almine Rech ★★★☆☆

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There’s no dignity in paint when the arc of art history tends to “show hole”.

Open Group, The Polish pavilion in Venice ★★★☆☆

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The applause was rapturous. A sense of tragedy, however, was altogether missing.

Tamara Henderson, Green in the Grooves at Camden Art Centre ★★★★☆

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The whole thing feels like a remake of Wind in the Willows directed by a garden gnome.

Peter Fischli and David Weiss at Sprüth Magers ★★★★☆

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A police procedural turns into a drinking game of Foucauldian power analysis.

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