Justin Chance

Motherhood

★★☆☆☆

On until 26 October 2024

Quilt me a story. Chance’s wool fibre hangings stuffed between silk sheets set off accidental abstractions. One hides the outlines of a Leonardo cartoon. Another’s single blemish becomes a Caribbean island. Coming to the third which is densely marked as if it were a budget Basquiat, the mind is primed to play along with the artist’s unwitting trick. 

An intricate woven butterfly atlas completes the set. If only Chance stopped there. He also wrote two versions of his show’s press release but still somehow made no sense of his story. His barely comprehensible copy stitches a juvenile historical grievance into the chaos of a butterfly’s flutter. These ideas rob the works of authenticity. Their grammar, worse than is customary of the genre, turns the show into a joke. 


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

Deimantas Narkevičus, The Fifer at Maureen Paley ★★☆☆☆

Deimantas Narkevičus

The Fifer

★★☆☆☆

In the age of the decolonial, this is as quaint as it is outmoded

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

Christo

Early Works

★★★★☆

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

Gabriel Hartley, Floorlines at Seventeen ★★★★★

Gabriel Hartley

Floorlines

★★★★★

Desire breeds introspection. Desire breeds mistrust.

Eva Kot’átková, The Czech pavilion in Venice ★★☆☆☆

Eva Kot’átková

The heart of a giraffe in captivity is twelve kilos lighter

★★☆☆☆

The giraffe’s taxidermied corpse is host to an ideological stunt.

Chronoplasticity at Raven Row ★☆☆☆☆

Chronoplasticity

★☆☆☆☆

This may have been a good joke but it’s just too exhausting to look at.

Gray Wielebinski, The Red Sun is High, the Blue Low at ICA ★☆☆☆☆

Gray Wielebinski

The Red Sun is High, the Blue Low

★☆☆☆☆

I knew that it was possible to understand art and life less after seeing an exhibition. I didn’t, however, imagine that experiencing Wielebinski’s work twice would only compound such damage.

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