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Rizaldi’s instructional films are aids to miscomprehension. One takes the form of a Hanna-Barbera space alien cartoon. Its saturated colours and muffled dialogue could be a highlight in a ‘70s science classroom. A pantheism subplot throws the lesson, however. The artist hopes we students won’t notice. 

The spin continues on the next screen where a shipwrecked astronaut breathes physics jargon and 15th-century Sufism. Science and world religions dance in a polytheist multiverse. Nothing, sadly, saves our lonely hero.

Rizaldi’s grand unifying theory is as charming as it is confused. The conflict of belief and reason is a 19th-century problem. Throwing vague old maxims at it advances little. When an artist thinks he’s understood quantum mechanics, to twist Richard Feynman’s words, he doesn’t. How will he know if he knows god?


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

SACCADES, Leo Arnold with Jo Baer at Brunette Coleman ★★★★☆

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One dare not ask for more.

Auudi Dorsey at PM/AM ★★★★☆

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Dorsey records the human experience with the true universalism of paint.

Nikita Gale, Blur Ballad at Emalin ★★☆☆☆

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Even though the show brings together a few unusual tricks, they are disjointed and leave little for the eye to linger on.

Entangled Pasts at The Royal Academy ★★☆☆☆

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

Marina Xenofontos, Public Domain at Camden Art Centre ★★★☆☆

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There’s an unfortunate ‘emerging artist’ vibe to this handful of readymade sculptures.

Celia Hempton, Transplant at Phillida Reid ★★★☆☆

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Sense finally returns only outside the gallery.

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