Slawn

★★☆☆☆

On until 20 October 2024

Do you like street art, but not the street or the people who make it? Do you enjoy the frisson of taboo ideas but are too anxious to share an ironic meme? Do you like KAWS but find him too expensive? Why, meet Slawn, the spray paint kid “taught” in a Lagos skate shop now hailed by Sotheby’s as Nigeria’s top “Instagram Art Sensation”. 

The canvases are too large for Slawn’s naively painted figures. His references – the gallery laughably cites AbEx – don’t stretch beyond a phone’s emoji keyboard. It’s all big tits, big lips, big eyes, sometimes a background squiggle. Risqué if you’ve not seen a Haring. Out of the blue, however, a single canvas has three figures in KKK robes. Perhaps Slawn follows Philip Guston’s socials. 

Street art fans love this stuff because they’re fans. Brands drink up the PR’s identitarian nonsense because it has little manifestation in the work. But with the 23-year-old’s auction record understandingly unimpressive, what’s in it for the dealers? 


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

Soufiane Ababri, Their mouths at Barbican ★★☆☆☆

Soufiane Ababri

Their mouths were full of bumblebees

Their mouths were full of bumblebees

★★☆☆☆

Ababri’s paintings for the Grindr generation are more cartoonish than they are from life.

Ithaca at Herald St ★★★★☆

Christopher Aque, Alekos Fassianos, Luigi Ghirri, Jessie Stevenson, George Tourkovasilis

Ithaca

Ithaca

★★★★☆

This show drips with affectation that wouldn’t survive a minute tomorrow.

Liliane Lijn: Seeds of Tomorrow at Sylvia Kouvali ★★★☆☆

Liliane Lijn

Seeds of Tomorrow

Seeds of Tomorrow

★★★☆☆

Are these dreams, floral fields, or psychedelic visions?

Will Gabaldón, Flicker at Union Pacific ★★★☆☆

Will Gabaldón

Flicker

Flicker

★★★☆☆

Gabaldón reinvents the pastoral for the Instagram generation.

Nick Relph, Fils, ta vision! at Herald St ★☆☆☆☆

Nick Relph

Fils, ta vision!

Fils, ta vision!

★☆☆☆☆

There’s little for the eye to hang on and none of the punk culture of Relph’s earlier practice emerges from the works.

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

looking to the futurepast, we are treading forward

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.

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