Jenkin van Zyl

Dance of the Sleepwalkers

★★★☆☆

On until 9 March 2024

On the gallery’s black walls, van Zyl’s metallic drawings look like graffiti in one of those property guardianship projects that would have been a crack den a decade or two ago. Today, it breaks the budget of a trust fund hipster artist. Fantastical figures – half rats, half human gimps – lock in an erotic death dance in one image. The head of this game’s loser becomes a trophy in another. But the polished steel and brushed aluminium surfaces of these tableaux, reminders of this environment’s once functional intent and the work’s commercial aspirations, cry out for real vermin and vandalism. 

The manufacture of faux subcultural memorabilia is Edel Assanti’s ongoing side hustle. Here, each of van Zyl’s posters comes with a wall sculpture made from the ubiquitous intercom panels that adorn the doorways of shared occupation buildings. Ring 1 for “Grief”, and it’s flat 7 for “Garbage”. Their poor state – finally! – betrays the base humour of this one-star hotel’s residents, but also the whole show’s false-grit indecision.


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

The last train after the last train at Public ★★★☆☆

The last train after the last train

★★★☆☆

The failed magic tricks in Lyndon Barrois Jr.’s canvases would hang in the final scene of Chinese Roulette in which everyone turns against everyone.

Pakui Hardware, Maria Terese Rozanskaite, Inflammation at Lithuanian pavilion Venice ★★★☆☆

Pakui Hardware, Maria Terese Rožanskaité

Inflammation

★★★☆☆

One of the novelties in Venice is the artwork that looks good but on reflection isn’t.

Xie Nanxing, Hello, Portrait! at Thomas Dane ★★★★☆

Xie Nanxing

Hello, Portrait!

★★★★☆

Looking at Xie’s portraits is a little like wearing a virtual reality headset over only one eye.

Shu Lea Cheang at Project Native Informant ★★☆☆☆

Shu Lea Cheang

Scifi New Queer Cinema, 1994-2023

★★☆☆☆

With material this gratuitously explicit and a curator this absent, it’s a miracle that this project wasn’t shut down by the licencing, or indeed art-historical authorities.

A Comparative Dialogue Act, Luxemburg pavilion in Venice ★★☆☆☆

Andrea Mancini, Every Island

A Comparative Dialogue Act

★★☆☆☆

Stage fright is real. Cowardice is another thing altogether.

Urs Fischer, Scratch & Sniff at Sadie Coles ★★★☆☆

Urs Fischer

Scratch & Sniff

★★★☆☆

It’s too early for a funeral, yet there’s no other reprieve in this commodity cult.

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