Nanténé Traoré

She says it's the high energy

★★☆☆☆

On until 17 February 2024

A social media advert targeted at my middle-aged eyes suggested that old retinas lose their ability to register colour. Traoré’s photographs render this sales pitch obsolete. Even when printed in monochrome, these images scream uncontrollably. They are saturated with colour and noxious self-obsession, the kind of aspirational self-harm made glamourous by Goldin and cos-played by Tillmans. Bodies clash with lights in front of Traoré’s Narcissus camera. They do so not for art but for that Instagram algorithm whose promise I must miss out on.

It needn’t have been so. Traoré wants these images to speak with Apollinaire and Rilke, or at least Björk and Pink Floyd. But not one of these correspondents sought life entirely within his or her body. Traoré, a self-professed obsessive storyteller might one day look past such carnal fixation.


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

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

Hannah Tilson

Soft Cut

★★☆☆☆

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

Gray Wielebinski, The Red Sun is High, the Blue Low at ICA ★☆☆☆☆

Gray Wielebinski

The Red Sun is High, the Blue Low

★☆☆☆☆

I knew that it was possible to understand art and life less after seeing an exhibition. I didn’t, however, imagine that experiencing Wielebinski’s work twice would only compound such damage.

Raed Yassin: Eternal Ghost at Cedric Bardawill ★★☆☆☆

Raed Yassin

Eternal Ghost

★★☆☆☆

Pictures of other people’s children don’t sell.

Leonardo Drew, Ubiquity II at South London Gallery ★★☆☆☆

Leonardo Drew

Ubiquity II

★★☆☆☆

There are many ways to misunderstand entropy.

Dominique Fung, (Up)Rooted, at Massimo de Carlo ★★☆☆☆

Dominique Fung

(Up)Rooted

★★☆☆☆

All this tries to be macabre and surreal like in Bosch or Miyazaki but is instead laughably twee.

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

Mike Kelley

Ghost and Spirit

★★★☆☆

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…

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