A Story Backwards


On until 3 December 2023

The installation consists of only a handful of elements: five yellow mesh hangings which divide the gallery, four oversized kitchen colanders with text engravings, a pair of traffic lights. The constellation turns the gallery into a stage set in search of a script.

The programme promises the world. We’re watching comedia dell’arte! These objects are “experiences of power” and “satires of social hierarchies”! They question “agency and authority” and engage us in “roleplay”!

All those would be great plot twists, but the play has been cancelled. The actors are missing and there is no story, neither forward nor back.

Why theatre, why these notions, why these props? Having forgotten what the ‘dramatic’ in art stands for, visual artists today too often mistake hacked theory and mistranslated philosophy for stage directions. A tragedia dell’arte for our times.

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

Dryland, the Greek pavilion in Venice ★★★★☆

Thanasis Deligiannis, Yannis Michalopoulos



It’s Sunday in the village. And the main square is deserted.

Dominique Fung, (Up)Rooted, at Massimo de Carlo ★★☆☆☆

Dominique Fung



All this tries to be macabre and surreal like in Bosch or Miyazaki but is instead laughably twee.

Armando D. Cosmos, Nothing New Under the Sun at Phillida Reid ★★★☆☆

Armando D. Cosmos

Nothing New Under the Sun


Cosmos wants to redefine STEM as the alliance of science, theosophy, engineering, and myth.

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.

Pakui Hardware, Maria Terese Rozanskaite, Inflammation at Lithuanian pavilion Venice ★★★☆☆

Pakui Hardware, Maria Terese Rožanskaité



One of the novelties in Venice is the artwork that looks good but on reflection isn’t.

Abel Auer, The shadow of tomorrow draws an ancient silhouette at Corvi-Mora ★★★☆☆

Abel Auer

The shadow of tomorrow draws an ancient silhouette


Auer is more interested in the fate of painting than humanity and thus stands apart from the army of zealots who make eco art today.