Meaning parts with the image in this exhibition, never to return. Two paintings by Sarkez overlay banal messages (“11:11” and “good morning” in Arabic) on unremarkable street scenes from the Gulf states. Istifan mixes all manner of iconographies – Playboy bunnies, Baroque cherubs, and Wingdings the font – in all manner of media. Kringwiwat Holmes collages vintage mail-order catalogues with photographs and doodles. Post-structuralism triumphs.
All this is intriguing but ultimately impossible to parse because these artists, working in separation, each stage their own assaults on the same symbols and the display does not reveal the rules. What should have been a sinister game of chess – Sarkez provides a board – is instead a frustrating circular reference.
