Ksenia Pedan



Curated by Adomas Narkevičius
On until 19 November 2023

Pedan’s paintings would rather be anything but. Their surfaces, rendered on board that looks as if attacked with an angle grinder, betray little. They hang above eye level, as though to discourage close inspection. The gallery, likewise, isn’t like a gallery. Lengths of electrical cabling cross the walls without reason. Crude boxing conceals the radiators and budget light fittings shine directly into the visitors’ eyes.

But a false wall that oddly covers an altar on which a bird abandoned its nest reveals that all this is a shoddy cover-up, a botched renovation in which the builders cut corners before rushing off to their next job. Everything’s a little sub-standard in that way one begrudgingly gets used to but can never truly overlook.

Even the paintings use the pseudo-neutral palette and form of a mid-range interior design catalogue that rejects lasting meaning. But their marks slowly become discernible: a dense forest, a pile of bones, an hourglass turning dust to dust. In this eerie environment, they demand reverence and reward it with stories of death and disaster that resist any rushed renewal.

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

Marina Abramović, 7 Deaths of Maria Callas ★☆☆☆☆

Marina Abramović

7 Deaths of Maria Callas


Abramović wants to destroy all performance and all women until she holds the monopoly over stage death.

Matthew Barney, SECONDARY at Sadie Coles HQ ★★★☆☆

Matthew Barney

SECONDARY: light lens parallax


Secondary turns the gallery into an American Football stadium. But all the seats in the house are the cheap seats and the game lacks a cheerleader.

Siobhan Liddell, Been and Gone at Hollybush Gardens ★★☆☆☆

Siobhan Liddell

Been and Gone


A twee aesthetics native to a grandmother’s mantlepiece collection of tourist souvenirs and devotional figurines.

Alia Farid, Elsewhere at Chisenhale ★★★☆☆

Alia Farid



There is no answer in the work. Its cause and the object become enmeshed in a bland, exoticized mess. 

Asami Shoji et al., Gestures of Resistance at A.I. ★★★★☆

Asami Shoji et al.

Gestures of Resistance


The figures appear as though in x-ray and helplessly foretell their own ends.

Entangled Pasts at The Royal Academy ★★☆☆☆

Entangled Pasts, 1768–now


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