looking to the futurepast, we are treading forward

★☆☆☆☆

On until 24 November 2024

The Russian Federation and Bolivia signed a $450 million Lithium deal last December. Its extra contractual perk of free rent on Russia’s Giardini pavilion clearly took the South American state’s Ministry of Cultures, Decolonization, and Depatriarchalization (yes, that’s the real name of the governmental body) by surprise and it barely succeeded in finding content for the presentation.

Thankfully, the tourist office dug up a museum demo of traditional yarn-spinning and a bunch of naive folk paintings came out from the store. A set of panpipes tucked in the corner signal that the contemporary is of no interest to a nation whose future is yet to be dug out from the ground. One star is due, however, for this project’s unintentional geopolitical relevance.


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

Ebun Sodipo, An Ominous Presence at Soft Opening ★★☆☆☆

Ebun Sodipo

An Ominous Presence

★★☆☆☆

Look, and it’s all on the surface.

Eddie Ruscha, Seeing Frequencies at Cedric Bardawil ★☆☆☆☆

Eddie Ruscha

Seeing Frequencies

★☆☆☆☆

But either the curator or the artist should have known better.

Tamara Henderson, Green in the Grooves at Camden Art Centre ★★★★☆

Tamara Henderson

Green in the Grooves

★★★★☆

The whole thing feels like a remake of Wind in the Willows directed by a garden gnome.

Bruno Zhu, License to Live at Chisenhale ★☆☆☆☆

Bruno Zhu

License to Live

★☆☆☆☆

Faced with so little, one longs for an even emptier room.

Rheim Alkadhi, Templates for Liberation at ICA ★★☆☆☆

Rheim Alkadhi

Templates for Liberation

★★☆☆☆

When truth and artifice are so bluntly opposed, what use is aesthetics?

Riar Rizaldi, Mirage at Gasworks ★★★☆☆

Riar Rizaldi

Mirage

★★★☆☆

When an artist thinks he’s understood quantum mechanics, he doesn’t. How will he know if he knows god?

×