Tacita Dean

Black, Green, Green and White

★☆☆☆☆

On until 22 November 2025

Phoning it in makes little sense in the age of the WhatsApp message, and film studies lost to video a long time ago. Dean was once good at this transition. This two-segment exhibition – consisting of inconsequential light paintings and film sprocket drawings in the gallery’s main space and a torturous 16mm film portrait of another film master in the basement – makes no effort on behalf of its subjects, let alone the medium.

Dean’s slate drawings and Polaroid doodles relate to Shakespeare, but one wouldn’t know it. One wouldn’t need to because such imagery is perfectly serviceable student dorm decoration. In the gallery, however, it is so quotidian that it barely distinguishes itself from the degree show.

Worse, though, is the forty-minute-long film portrait of the Ukrainian photographer Boris Mikhailov and his wife Vita. The subjects, whom Dean stages in the shadow of Berlin’s Brandenburg Gate, inspire interest inherently. This could have been a tender portrait of an ageing couple’s stillness, or any number of things, really. But Dean gives the Mikhailovs both too little and too much to do in her frame. The result captivates before revealing itself to be dead boring.


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

Claire Fontaine: Show Less at Mimosa House ★★☆☆☆

Claire Fontaine

Show Less

★★☆☆☆

Repeat these mantras enough, and the lie becomes art.

William S. Burroughs at October Gallery

William S. Burroughs

★★☆☆☆

Burroughs should be sexy, right?

The last train after the last train at Public ★★★☆☆

The last train after the last train

★★★☆☆

The failed magic tricks in Lyndon Barrois Jr.’s canvases would hang in the final scene of Chinese Roulette in which everyone turns against everyone.

Cullinan Richards, Retrospective at Alma Pearl ★★★★☆

Cullinan Richards

Retrospective

★★★★☆

Rhis show is the kompromat in an art generation’s archive.

Poppy Jones, Solid Objects at Herald St ★★★★☆

Poppy Jones

Solid Objects

★★★★☆

The lightness of the painter’s gesture cries out for a sledgehammer that would relieve the viewer of his doubt.

When Forms Come Alive at Hayward Gallery ★★☆☆☆

When Forms Come Alive

★★☆☆☆

This exhibition cannot decide if it’s a tourist attraction or a serious examination of sculpture’s relationship with movement.

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