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:

Ghada Amer, QR CODES REVISITED—LONDON at Goodman ★★☆☆☆

Ghada Amer

QR CODES REVISITED—LONDON

★★☆☆☆

This invites a game of proofreading, in hope that Amer maliciously inserted a greengrocer’s apostrophe into de Beauvoir’s mind.

Abdullah Al Saadi, Sites of Memory, Sites of Amnesia, UAE pavilion in Venice ★★★☆☆

Abdullah Al Saadi

Sites of Memory, Sites of Amnesia

★★★☆☆

The exhibition’s user experience rivals that of the Apple Store.

Carole Ebtinger, Esther Gatón at South Parade ★★☆☆☆

Carole Ebtinger, Esther Gatón

phosphorescence of my local lore

★★☆☆☆

Rot overpowered this subject and came for the object next. 

Ignacy Czwartos, Polonia Uncensored, Venice ★★☆☆☆

Ignacy Czwartos

Polonia Uncensored

★★☆☆☆

Czwartos’ painting proves little and his sign-writer’s hand loses art history’s bet.

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.

Harmony Korine, Aggressive Dr1fter Part II at Hauser & Wirth ★★☆☆☆

Harmony Korine

Aggressive Dr1fter Part II

★★☆☆☆

The garish colours which may have carried the story in cinema here are unfitting of their new medium.

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