Raed Yassin

Eternal Ghost

★★☆☆☆

On until 12 July 2025

Pictures of other people’s children don’t sell. Ask me how I know. Yassin half-understood this, but only after he’d collected a cache of strangers’ family albums. His dealer is eager to tell me that they came from the artist’s native and oh-so-war-scarred Lebanon. In a gesture of pictorial grief, maybe, Yassin obscured the toddlers, young women, and the odd grandma by only lightly impressing their image on brightly coloured paper.

This appeal to human universals – that girl could have been my mother! – entirely misses the specificity of a family that’s not “chosen”. Photography’s about death, we get it. The exhibition essay, however, confusingly cites Sontag rather than Barthes and fails to recognise the woman. Yassin’s memory act is a category error when videos of dying children on social media feeds either solicit donations or carry “explicit content” labels.


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

Cullinan Richards, Retrospective at Alma Pearl ★★★★☆

Cullinan Richards

Retrospective

★★★★☆

Rhis show is the kompromat in an art generation’s archive.

Jenny Saville: The Anatomy of Painting at National Portrait Gallery ★★★☆☆

Jenny Saville

The Anatomy of Painting

★★★☆☆

There is no trace of the visceral in Saville’s gentle pencil studies, for example.

Gabriel Hartley, Floorlines at Seventeen ★★★★★

Gabriel Hartley

Floorlines

★★★★★

Desire breeds introspection. Desire breeds mistrust.

Mohammed Z. Rahman, A Flame is a Petal at Phillida Reid ★★★☆☆

Mohammed Z. Rahman

A Flame is a Petal

★★★☆☆

Rahman’s zine hand makes this make-believe explicit but not plausible.

Cui Jie, Thermal Currents at Pilar Corrias ★☆☆☆☆

Cui Jie

Thermal Landscapes

★☆☆☆☆

The exhibition feels like a lecture on climate change sponsored by the designers of The Line, Saudi Arabia’s dystopian plan for a 110-mile linear city in the desert.

Victor Man: The Absence That We Are at David Zwirner ★★★☆☆

Victor Man

The Absence That We Are

★★★☆☆

Man’s colours are only a small nudge of the wheel from Tretchikoff’s infamous portrait of the Chinese girl.

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