Nicola Turner, Edward Bekkerman

The Song of Psyche: Corners of a Soul's Otherworlds

★★☆☆☆

Curated by Marina Shtager
On until 12 January 2024

Turner’s Medusa-like sculptures fashioned from tights stuffed with horse hair and wool fill the gallery with an earthy aroma that distinguishes these forms from similar made by Lucas or Bourgeois. Their tentacles want to envelop the studio, having already consumed the artist and possessed a dancer to prance among them at the show’s opening.

For all their bravado, these works are mere props, as befalls the weekend output of an otherwise accomplished scenic designer. But as dressing, they only accentuate Bekkerman’s hideously colourful oils, their counterparts in this exhibition, which hang off the canvases so thickly that they might drip onto the floor. Assaulted by these viscous ejaculations, the eye reads into them what could be figures assembled at a rally before retreating to safety and dismissing these works as shopping mall abstractions.

This project – not only the show’s cringeworthy title and the gallery’s unpronounceable name and unstated mission – is difficult to fathom. Who opens a space in Fitzrovia only to fill it with such drivel? What is the market, of buyers or admirers, for ideas so pedestrian and so poorly executed? The answer is a Google search away. To link to it, however, would be uncharitable.


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

Eva Kot’átková, The Czech pavilion in Venice ★★☆☆☆

Eva Kot’átková

The heart of a giraffe in captivity is twelve kilos lighter

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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.

Aziza Kadyri, the Uzbekistan pavilion in Venice ★★★★☆

Aziza Kadyri

Don't Miss the Cue

★★★★☆

This dissonance might be intentional. If it isn’t, so much for the better.

Aleksandar Denić, The Serbian pavilion in Venice ★★★☆☆

Aleksandar Denić

Exposition Coloniale

★★★☆☆

Denić took the Biennale’s theme literally, as though he was not in on the art world joke.

Entangled Pasts at The Royal Academy ★★☆☆☆

Entangled Pasts, 1768–now

★★☆☆☆

Who could have thought that these mantras would turn into rote?

Tyler Eash, All the World’s Horses at Nicoletti ★★☆☆☆

Tyler Eash

All the World's Horses

★★☆☆☆

The artist must choose which ground is best ceded.

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