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Interiors fly-posts the grand civic forms of the Ropac townhouse with sheets from the Financial Times and the Daily Mail and vast expanses of poured latex. Everything is soft and pastel. A curtain, also dipped in beige latex, isolates an oppressively-filled room. Contours of the continents are discernible underneath the rubber, alongside fragmented of headlines. A cacophonous narrative, an equally discordant video collage. Upstairs, the forms devour the walls, too. Some worn-out carpets compete with another soundtrack. The eye longs for the calmer view outside.

El-Sayegh says she wanted to replicate Freud’s consulting room and her studio. But for the abundance of material, there simply aren’t enough ideas in the exhibition to go around these Mayfair halls. The show thus looks like a hurried response (all works dated 2023) to a gap (four weeks) in the schedule. Sometimes, access to the resources of a mega-gallery is a curse. By contrast, El-Sayegh’s restrained 2019 Chisenhale exhibition was far more ambitious.


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

Ed Webb-Ingall, A Bedroom for Everyone at PEER ★☆☆☆☆

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How can art improve the lives of communities? Wrong answers only.

Sin Wei Kin, Portraits at Soft Opening ★★☆☆☆

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This exhibition combines the most vulgar of all art school tropes: juvenile narcissism, NFT kitsch, and mindless referentialism.

Odoteres Ricardo de Ozias at David Zwirner ★★★☆☆

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These images are perfectly charming even to a viewer possessed of a cold anthropological eye. The troubling part is in realising just how far ‘outside’ the ideas are.

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

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

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

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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.

Avery Singer, Free Fall at Hauser & Wirth ★★☆☆☆

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This show would be better without the baggage of the artist’s personal story and even better without the Twin Towers altogether.

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