Jordan Derrien

Painted on a Wall of the Inn at Marlotte


On until 20 July 2024

For the simplicity of its conceptual gesture, Derrien’s series of wall paintings – quite literally fragments of canvas walls covered in what could be domestic paint and framed by white skirting boards – is riven with confusion. No detail is apparent in these works at first glance. Their modest scale and systematic, paired presentation demand close inspection. 

The scrutiny yields reward. Subtle textural differences between the canvases emerge. One wonders if Derrien got his acrylics from Dulux and if he applied them with rollers rather than careful brushstrokes. Before long, the artist has his audience discussing the nature of paint drying out loud.

This is for nothing, however, because the artist forgot that his concept lies in its execution. His frames are shoddy, as though a cut-rate decorator assembled them to order. The wood mouldings are rickety, the canvas edges messy. This may have been intentional, but if so, Derrien’s work is no more than a poor copy of life and therefore redundant. If it’s an oversight, it discredits the whole genre.

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

Mandy El-Sayegh, Interiors at Thaddeus Ropac ★★☆☆☆

Mandy El-Sayegh



For the abundance of material, there simply aren’t enough ideas in the exhibition to go around these Mayfair interiors.

Tyler Eash, All the World’s Horses at Nicoletti ★★☆☆☆

Tyler Eash

All the World's Horses


The artist must choose which ground is best ceded.

Stuart Middleton, The Human Model at Carlos/Ishikawa ★★☆☆☆

Stuart Middleton

The Human Model


An interest in material is core to this practice but Middleton mistrusts his instincts.

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.

Yoko Ono at Tate ★★★☆☆

Yoko Ono

Music of the Mind


This show will sell tickets. But it won’t change the weather.

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.