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Borremans’ anthropomorphic paintings distorted monkey faces have the appearance of porcelain dolls. Alone, they would have been unremarkable. Borremans, however, places these eerie animal portraits next to his only slightly odd pictures of humans. This does to the human figure what Pierre Huyghe’s ape did with the absence in his Human Mask film.

The comparison unnervingly accentuates his people’s outre-mer characteristics. Some seem medieval, others come from Hollywood Westerns. This company gives even an entirely straightforward female nude a set of otherworldly qualities that she alone could not bear.

Borrowings from 17th-century court portraiture mix with 1980s pop. Borremans toys with his subjects, his audience, and with art history. His monkeys quite literally do so with them all when they appear as giant overlords of human life modelled at plaything scale in the painter’s already modestly sized pictures. 


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

Pope.L, Hospital at South London Gallery ★★★☆☆

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This project lands in the joke section of Animal Farm and not as a prophecy of the Jan 6th insurrection.

Eva Rothschild at Modern Art ★★☆☆☆

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These sculptures are too clean, too ordered, and too clever for no good reason.

The Poplar Bestiary at Tondo Cosmic ★★★☆☆

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This menagerie comes with no humanly comprehensible challenge.

Hannah Tilson, Soft Cut at Cedric Bardawil ★★☆☆☆

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Tilson’s styled self-portraits are an affectation that will take many years of practice to pay off.

Mike Kelley, Ghost and Sprit at Tate Modern ★★★☆☆

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The challenge of curating a retrospective of a career as rich as Kelley’s is to build a narrative that both lay audiences and art historians can believe. Wood packs the show and pleases neither fully.  It’s remarkable that any artist’s…

looking to the futurepast, we are treading forward, the Bolivian pavilion in Venice ★☆☆☆☆

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The contemporary is of no interest to a nation whose future is yet to be dug out from the ground.

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