There is an unstated hierarchy of forms at work in this enigmatic not-quite-solo, not-quite-collective exhibition. “Hereafter” was conceived by Simon Moretti and features works by well over a dozen “guest” others. The artist’s wall-mounted neon, Double Vortex (after Emanuel Swedenborg), 2025, is the show’s cipher. This work’s very shape—like a ram’s horns atop an Ionic column—points to the heavens.
Simon Moretti et al. Hereafter
Simon Moretti et al.
Hereafter
★★★★★
On until 30 May 2025
notes and notices are short and curt exhibition reviews. Read more:
Claire Fontaine
Claire Fontaine
Show Less
★★☆☆☆
Repeat these mantras enough, and the lie becomes art.
James Welling and Bernd & Hilla Becher
James Welling and Bernd & Hilla Becher
★★★☆☆
Welling’s veneration of brutalist concrete borders on fetish.
Fritsch, Genzken, Oldenburg, Shani, Sherman, Smithson, Thek
Fritsch, Genzken, Oldenburg, Shani, Sherman, Smithson, Thek
Material Rites
★★★☆☆
The instincts are right, but too much makes sense to make sense together.
Freudian Typo
Freudian Typo
Condensed Word, Displaced Flesh
★★☆☆☆
The problem of artists who confuse graphic design with art is that they also mistake sloganeering for critique.
Tamara Henderson
Tamara Henderson
Green in the Grooves
★★★★☆
The whole thing feels like a remake of Wind in the Willows directed by a garden gnome.
Mohammed Z. Rahman
Mohammed Z. Rahman
A Flame is a Petal
★★★☆☆
Rahman’s zine hand makes this make-believe explicit but not plausible.
