Julia Maiuri

Yesterday & The End


On until 13 January 2024

Maiuri’s oil copies of found film stills and promotional photographs from Hollywood’s golden age make a perfect show for the postage stamp collector. Not only will her bijou paintings fit through the letterbox, they also come in a choice of bright colours that would readily set the first class stamp apart even in a busy collection. Women’s faces and objects lifted from black and white thrillers fill the frames to bursting. Stylised retro typography signals timeless nostalgia. These scenes are at once familiar and unplaceable, as though designed to appeal to all, yet grant the illusion of depth to the would-be connoisseur. For the philatelist on a budget, Maiuri even reprised her first day covers in miniature on unprimed and presumably cheaper canvas, effectively painting each image twice.

But seeing them once would be plenty. One can only imagine that some unconscious loathing of postmen or Hollywood motivated this project. Maiuri’s hatred of paint, on the other hand, is evident.

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

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.

Open Group, The Polish pavilion in Venice ★★★☆☆

Open Group

Repeat After Me II


The applause was rapturous. A sense of tragedy, however, was altogether missing.

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.

looking to the futurepast, we are treading forward, the Bolivian pavilion in Venice ★☆☆☆☆

looking to the futurepast, we are treading forward


The contemporary is of no interest to a nation whose future is yet to be dug out from the ground.

Entangled Pasts at The Royal Academy ★★☆☆☆

Entangled Pasts, 1768–now


Who could have thought that these mantras would turn into rote?

Justin Caguiat, Dreampop at Modern Art ★★★★☆

Justin Caguiat



This is the sort of exhibition that makes a critic question the quality of their judgment.