Justin Caguiat

Dreampop

★★★★☆

On until 4 November 2023

This is the sort of exhibition that makes a critic question the quality of their judgment. In principle, Caguiat’s large-scale abstract canvases shouldn’t feel this alluring. The paintings are filled with splodges of colour that resemble Van Gogh’s starry sky as if seen through a kaleidoscope. The surfaces are at times too busy and some look like children’s book illustrations in which all shapes and colours have swapped place. 

But for this precisely they are arresting. At first, they become detective stories: squint to see Bosch’s Last Judgment in one and follow another to Toulouse Lautrec’s Montmartre. The critic brain rebels at this trick, but it only draws the eye closer until it understands that the paint itself is an abstraction. It takes a moment for the senses to recover from this illusion and when they are restored, the shapes and colours emerge with an entirely new logic of their own.


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

Sibylle Ruppert, Frenzy of the Visible at Project Native Informant ★★★★☆

Sibylle Ruppert

Frenzy of the Visible

★★★★☆

This is the fodder of DeviantArt and the last year’s AI engines.

Future Relics at Union Pacific ★★★★☆

Future Relics

★★★★☆

“Reskilling” has the same ring in art as “reindustrialisation” does in geopolitics.

Oisín Byrne, Not Marble at Amanda Wilkinson ★★☆☆☆

Oisín Byrne

Not Marble

★★☆☆☆

Byrne has a type. Or rather, he’ll paint you into one.

Christopher Aque, Alexandre Khondji at Sweetwater and Studio M ★★★★★

Christopher Aque, Alexandre Khondji

★★★★★

Aesthetic cognition or crossword puzzles only rarely bring such perverse pleasure.

Turner Prize 2024 at Tate Britain ★★☆☆☆

Pio Abad, Claudette Johnson, Jasleen Kaur, Delaine Le Bas

Turner Prize 2024

★★☆☆☆

Even the artists approach this edition with ennui.

Linder, Danger Came Smiling at Hayward Gallery ★★★★☆

Linder

Danger Came Smiling

★★★★☆

Linder’s second-wave feminist propositions were ruthlessly superseded.

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