Forcing a Seoul gallery to share space with a Viennese one seems a little ungenerous of this London venue when the two artists’ projects are so idiosyncratic. Meïté Sikely’s acrylic canvases mix fantasy daemons with everyday slogans in the manner of DC Comics and sub-Saharan advertising murals. It’s half William Blake, bit strip-mall, part superhero film set. Ahn’s menacing cat pictures in which the artist’s pet plots his revenge against the human race are peak YouTube cuteness restaged for the CSI morgue. But when the same mutt jumps from the canvas and assumes distorted sculptural forms, the threat of his claw is but a lame joke.
These works are as garish as they are fun to look at. But experienced without the mediation of a phone screen, their exuberance is jarring. Such overstimulation is the host gallery’s brand as post-internet art’s dealer of choice. It would have been more rewarding to pursue only one of these plots.
