Jan Gatewood

Group Relations

★☆☆☆☆

On until 2 March 2024

“Like people, rabbits come in a variety of different shapes, sizes, and colours”, the exhibition handout warns visitors. Beware, ye faint of heart because Gatewood has bred at least a dozen. She has a story for each and each is more thrilling than the last. The show’s a dive down the warren and it will leave you breathless. 

But not thanks to the qualities of her rainbow pastels. No. These rabbits are, to swap Gatewood’s idiotic euphemism for another, stand-ins for ‘historically oppressed people’. “Children of the projects” appear in one. Others, she explains, are the alter egos of Toni Morrison, David Hammons, and Kara Walker. 

As though this couldn’t get any more patronising, the bunnies preach morals. “Rearrange yourself as an act of humility,” one challenges the bamboozled viewer. Such thin metaphors could only have come from LA. Did Gatewood look at her “In This House We Believe” yard sign and think that it needed some furries?


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

Haegue Yang, Leap Year at Hayward Gallery ★★☆☆☆

Haegue Yang

Leap Year

★★☆☆☆

The funfair is shuttered, long live the fair.

Cui Jie, Thermal Currents at Pilar Corrias ★☆☆☆☆

Cui Jie

Thermal Landscapes

★☆☆☆☆

The exhibition feels like a lecture on climate change sponsored by the designers of The Line, Saudi Arabia’s dystopian plan for a 110-mile linear city in the desert.

Adriano Costa, ax-d. us. t at Emalin ★★★☆☆

Adriano Costa

ax-d. us. t

★★★☆☆

Form triumphs over detritus.

Sosa Joseph, Pennungal at David Zwirner ★★★★★

Sosa Joseph

Pennungal: Lives of women and girls

★★★★★

The night, finally, recognises despair and witnesses infanticide.”

Sin Wei Kin, Portraits at Soft Opening ★★☆☆☆

Sin Wei Kin

Portraits

★★☆☆☆

This exhibition combines the most vulgar of all art school tropes: juvenile narcissism, NFT kitsch, and mindless referentialism.

Women in Revolt! at Tate ★★★☆☆

Women in Revolt!

★★★☆☆

There’s a room for female labour, a corner for childbirth, one for black women, and a section for lesbians. This is as close to nuance as Tate gets today.

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