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:

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.

Karimah Ashadu: Tendered at Camden Art Centre ★★☆☆☆

Karimah Ashadu

Tendered

★★☆☆☆

Ashadu’s films are as banal as they are overbought with glib signifiers.

Richard Hunt, Metamorphosis at White Cube ★★★★★

Richard Hunt

Metamorphosis

★★★★★

A dictionary for self-determination written in phrases as they were being invented.

Yi To, Terminal Lucidity at Project Native Informant ★★★★☆

Yi To

Terminal Lucidity

★★★★☆

All evidence erodes eventually.

Alia Farid, Elsewhere at Chisenhale ★★★☆☆

Alia Farid

Elsewhere

★★★☆☆

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

Jacob Dahlgren, When Anxieties Become Form at Workplace ★★☆☆☆

Jacob Dahlgren

When Anxieties Become Form

★★☆☆☆

The works are older than the artist’s last good idea.

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