Joanne Burke

Oes with works like Esses

★★★★☆

On until 1 March 2025

The risk of working with hot metal is that, like water, it spills away from the mould. Burke’s materials – silver, bronze, and aluminium – which she has worked into arcane ritual objects that one would more readily expect to find in the dimly-lit rooms of ethnographic museums than East London galleries have minds of their own. Some betray their decorative intent without revealing the occasion. Others are miniature charts that would lead the bearer to undisclosed treasure. A couple, resembling musical instruments, invite the staging of a performance whose score was never written.

These forms are exquisite and the little they lack in antique opulence they make up for in austerity. A nod to 17th-century hydromancy in the gallery text already charges the pieces with too much utility, however. Burke’s next demand that they affirm “posthuman feminist phenomenology” fails entirely. This, perversely, only confirms Quicksilver’s independence from artistic thought.


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

Alvaro Barrington, Grandma’s Land at Sadie Coles ★★★☆☆

Alvaro Barrington

Grandma’s Land

★★★☆☆

The party slumps into a half-voiced political complaint and never recovers. This is what happens when instead of living culture, we ‘celebrate’ it.

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.

Justin Chance, Motherhood at Ginny on Frederick ★★☆☆☆

Justin Chance

Motherhood

★★☆☆☆

If only he stopped there.

Christo, Early Works at Gagosian Open ★★★★☆

Christo

Early Works

★★★★☆

To appreciate Christo’s early works against his wishes, one must forget his later stunts.

Vinca Petersen, Me, Us and Dogs at Edel Assanti ★★★☆☆

Vinca Petersen

Me, Us and Dogs

★★★☆☆

Close up, Petersen’s innocents today conjure ideas of redneck resistance. At scale, of state-marketed utopia. The middle ground is envy.

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.

×