Sin Wei Kin

Portraits

★★☆☆☆

On until 16 December 2023

This exhibition combines the most vulgar of all art school tropes: juvenile narcissism, NFT kitsch, and mindless referentialism. In five video still portraits, Sin takes the place of art history’s celebrated subjects including Caravaggio’s Narcissus and Man Ray’s Kiki. The characters, distinguished more by their plastic wigs and colourful make-up than their presence, project sombre pensiveness.

But their demand for attention is tiresome because these drag figures are all artifice. Sin, dressed up as Frida Kahlo or Mona Lisa is only formally distinct from the TikTok girls who digitally adorn their faces for likes. In this pictorial metaverse where substance is exchanged for crypto, there is no time for the human and no space for art.


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

Your Ghosts Are Mine at Palazzo Franchetti ★★★☆☆

Your Ghosts Are Mine: Expanded Cinemas, Amplified Voices

★★★☆☆

This attempt at building pan-Arabic film aesthetics falls prey to the art technician’s trickery.

Urs Fischer, Scratch & Sniff at Sadie Coles ★★★☆☆

Urs Fischer

Scratch & Sniff

★★★☆☆

It’s too early for a funeral, yet there’s no other reprieve in this commodity cult.

Gabriel Hartley, Floorlines at Seventeen ★★★★★

Gabriel Hartley

Floorlines

★★★★★

Desire breeds introspection. Desire breeds mistrust.

Tamara Henderson, Green in the Grooves at Camden Art Centre ★★★★☆

Tamara Henderson

Green in the Grooves

★★★★☆

The whole thing feels like a remake of Wind in the Willows directed by a garden gnome.

Max Boyla, Crying like a fire in the sun at Workplace ★★☆☆☆

Max Boyla

Crying like a fire in the sun

★★☆☆☆

Rothko’s abstractions are said to have induced tears in viewers overwhelmed by abstraction. Staring at the sun here, however, barely causes blindness.

Liam Gillick, The Sleepwalkers at Maureen Paley ★★★☆☆

Liam Gillick

The Sleepwalkers

★★★☆☆

Gillick’s practice lacks obviously consistent character, save for it is sparseness of means and the ungraspability of its referents.

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