Nick Relph

Fils, ta vision!

★☆☆☆☆

On until 28 October 2023

There’s joy in geometry. To make his tableaux, Relph poked circular and rectangular holes in packaging cardboard he found in the alley behind a Manhattan Comme de Garçons store. He added to this some stickers and stencils and thus made the perfect wall decoration for a graphic designer’s dining room. But there’s little for the eye to hang on and none of the punk culture of Relph’s earlier practice emerges from the works. Is the clothing brand iconic or ironic? Why is the cardboard so clean? It would be more fun to play with a child’s wooden shapes toy – a close relative of these plates – than to figure this out.


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

The Otolith Group, I See Infinite Distance Between Any Point and Another at greengrassi ★★☆☆☆

The Otolith Group

I See Infinite Distance Between Any Point and Another

★★☆☆☆

The exhibition is a private memorial for Etel Adnan accessible only to members of the art world’s inner circle. And that’s a pity.

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.

Anna Barriball at Frith Street Gallery ★★☆☆☆

Anna Barriball

New Drawings

★★☆☆☆

The eyes may be the windows of the soul. To make an aphorism of the reverse needs more than shadow-play.

Asami Shoji et al., Gestures of Resistance at A.I. ★★★★☆

Asami Shoji et al.

Gestures of Resistance

★★★★☆

The figures appear as though in x-ray and helplessly foretell their own ends.

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

Sin Wei Kin

Portraits

★★☆☆☆

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

Shu Lea Cheang at Project Native Informant ★★☆☆☆

Shu Lea Cheang

Scifi New Queer Cinema, 1994-2023

★★☆☆☆

With material this gratuitously explicit and a curator this absent, it’s a miracle that this project wasn’t shut down by the licencing, or indeed art-historical authorities.

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