Linder

Danger Came Smiling

★★★★☆

On until 5 May 2025

It’s been a long time since Linder was sexy. That’s not because her incisive bust-ups of bodies and ideas are any less compelling than the still circulating visions of, say, Barbara Kruger, but because Linder’s second-wave feminist propositions were ruthlessly superseded by another set of objects.

Take the iconic 1976 photomontage of a nude woman with an iron for a head which Linder made for a Buzzcocks album cover. This modest yet outrageous image, now in the Tate collection, serves as the exhibition’s key marketing asset. That the artist remade it in 2015 as a larger-than-life lightbox says as much about her fight as the fact that this new work remains available for purchase.

Linder just about survived the demise of the print pictorial magazine. Her costume and sculptural works from the last decade are intriguing but understandably limited in number at the very end of the stuffily hung show that gets only a small part of the Hayward’s otherwise cavernous spaces. They make the diminishing returns of Linder’s and her peer’s demands poignantly evident. 


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

Entangled Pasts at The Royal Academy ★★☆☆☆

Entangled Pasts, 1768–now

★★☆☆☆

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

Helen Johnson, Opening at Pilar Corrias ★☆☆☆☆

Helen Johnson

Opening

★☆☆☆☆

This is the work of a mind that, having needlessly spent years in therapy, became hooked on ennui or of an artist who wasted time misreading Lacan.

Florian Meisenberg, What does the smoke know of the fire? at Kate MacGarry, ★★★★☆

Florian Meisenberg

What does the smoke know of the fire?

★★★★☆

Meisenberg’s paintings are either the product of a conspiracy or documents of a conspiracy theory.

Milly Thompson, My Body Temperature is Feeling Good at Goldsmiths CCA ★★☆☆☆

Milly Thompson

My Body Temperature is Feeling Good

★★☆☆☆

Oh, what is it to be a woman in a world of nothing but!

Tesfaye Urgessa, The Ethiopian Pavilion in Venice ★★★★★

Tesfaye Urgessa

Prejudice and Belonging

★★★★★

Urgessa’s figures are contorted in love, death, or merely life.

Pablo Bronstein, Cakehole at Herald Str ★★★☆☆

Pablo Bronstein

Cakehole

★★★☆☆

Bronstein falls into the late evening stupor of the cheese trolley, the oyster tray, and… the Mars bar.

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