Manfred Pernice, Megan Plunknett


On until 17 February 2024

The brand of formal inquiry exercised by Pernice and Plunkett rarely makes the news today. In the age of the skeuomorph, the lost meaning of signs and the human detachment from them should alarm philosophers. For artists, it is a rare opportunity.

Pernice’s accidental sculptures, assembled from plinths, crates, and podiums, forego any trace of joy or celebration. The flag poles, once bearers of pride and excess, stand naked as if to mark a period of mourning. Their Eastern European colours and forms, like the detritus on an abandoned building site, speak of an opportunity missed and self-induced amnesia.

Plunkett’s semiotic photographs continue along time’s arrow. The image archaeologist’s wheel stopped on Coke cans and sun gods just now, but many more objects deserve a place on Wikipedia’s ‘top things’ list. They’ll miss out on the click-through traffic, however, because Plunkett’s signs, like Pernice’s, revel in detachment. 

There’s nothing new under the sun here, quite literally. Such ‘80s nostalgia for meaning before history’s end is a comfort blanket. It would take a demagogue to remember that even the Bechers’ water tower pictures were a call to action. 

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

Julia Maiuri, Yesterday & The End at Workplace ★☆☆☆☆

Julia Maiuri

Yesterday & The End


One can only imagine that some unconscious loathing of postmen motivated this project.

Ithaca at Herald St ★★★★☆

Christopher Aque, Alekos Fassianos, Luigi Ghirri, Jessie Stevenson, George Tourkovasilis



This show drips with affectation that wouldn’t survive a minute tomorrow.

Abel Auer, The shadow of tomorrow draws an ancient silhouette at Corvi-Mora ★★★☆☆

Abel Auer

The shadow of tomorrow draws an ancient silhouette


Auer is more interested in the fate of painting than humanity and thus stands apart from the army of zealots who make eco art today.

Oh, the Storm at Rodeo ★☆☆☆☆

Oh, the Storm


This exhibitions is trying to explain the concept of ‘crazy paving’ to a blind man. It’s impossible to tell where a work ends and the wall begins.

Max Hooper Schneider, Twilight at the Earth’s Crust at Maureen Paley ★★☆☆☆

Max Hooper Schneider

Twilight at the Earth’s Crust


Mad Max meets Waterworld in a crossover sequel conceived by a film studio’s marketing department.

Tommy Camerno, Delirious at Filet ★★☆☆☆

Tommy Camerno



What’s left of the show are stage props that feed adolescent imaginations with false memories of the long-finished party.