Pamela Phatsimo Sunstrum

It Will End In Tears

★★☆☆☆

On until 5 January 2025

If this installation were a film pitch for Wong Kar Wai – and it’s hard to imagine that it’s anything but – it would end up in development hell. Pencils and oils barely cover the surface of the plywood panels on which Phatsimo Suntstrom set out her storyboard. The genre is ‘noir’, and the twist that the sinister protagonist is female. 

No gasps so far. With the right lighting, this story could be a mid-century colonial classic. Phatsimo Suntstrom doesn’t deliver. Yet, even the paintings’ faux sentimentalism could be forgivable in a skilful edit. Less so is the painter’s timid decision to commission an elaborate stage set made from her trademark plywood. The Curve could be the villa from Robbe-Grillet, but it isn’t. In the final print, neither actor takes the spotlight, and neither deserves it.


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

Open Group, The Polish pavilion in Venice ★★★☆☆

Open Group

Repeat After Me II

★★★☆☆

The applause was rapturous. A sense of tragedy, however, was altogether missing.

Ebun Sodipo, An Ominous Presence at Soft Opening ★★☆☆☆

Ebun Sodipo

An Ominous Presence

★★☆☆☆

Look, and it’s all on the surface.

Alia Farid, Elsewhere at Chisenhale ★★★☆☆

Alia Farid

Elsewhere

★★★☆☆

There is no answer in the work. Its cause and the object become enmeshed in a bland, exoticized mess. 

Phung-Tien Pham, doesn’t work at Project Native Informant ★★☆☆☆

Phung-Tien Pham

doesn't work

★★☆☆☆

Fad aesthetics for fad ideas.

Alvaro Barrington, Grandma’s Land at Sadie Coles ★★★☆☆

Alvaro Barrington

Grandma’s Land

★★★☆☆

The party slumps into a half-voiced political complaint and never recovers. This is what happens when instead of living culture, we ‘celebrate’ it.

Joseph Awuah-Darko, How is your day going? at Ed Cross ★★☆☆☆

Joseph Awuah-Darko

How is your day going?

★★☆☆☆

This project relies on layers of gimmicks and, sadly, they show through Awuah-Darko’s thick palette knife impasto.

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