Ron Nagle



On until 6 January 2024

Less is more, as the saying goes. Nagle’s porcelain and resin maquettes, none larger than a shoe box, are the bare minimum. The sculptures gesture at fantasy worlds in the making. One has an erupting volcano, another the beach. Some are cross-sections of domains filled with gold ore and cumulus clouds. Each is a land promised.

But it’s the eighth day in this multiverse and these worlds are unfinished, as though assembled by a video game designer in a hurry. The volumes and shapes are only roughly to scale. The copy-and-paste textures are the materials’ default and merely trick the eye. Their setting, as though in an austere but high-end jewellery store, completes the illusion. It’s all good enough and as good as it gets. The only snag is that this bliss gives way to rage every Monday.

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

looking to the futurepast, we are treading forward, the Bolivian pavilion in Venice ★☆☆☆☆

looking to the futurepast, we are treading forward


The contemporary is of no interest to a nation whose future is yet to be dug out from the ground.

Co Westerik, Centenary at Sadie Coles HQ ★★★☆☆

Co Westerik



Westerik catches his figures in deep contemplation in front of the mirror, in the gynaecologist’s chair, or even mid-orgy.

Wilhelm Sasnal at Sadie Coles ★★★☆☆

Wilhelm Sasnal


Only in flights of anger does this vision come close to becoming believable.

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.

A Comparative Dialogue Act, Luxemburg pavilion in Venice ★★☆☆☆

Andrea Mancini, Every Island

A Comparative Dialogue Act


Stage fright is real. Cowardice is another thing altogether.

Choon Mi Kim, ACID—FREEEE at Ginny on Frederick ★☆☆☆☆

Choon Mi Kim



Some forms of abstraction simply scream ‘my kid could have made that’.