The last train after the last train


On until 28 October 2023

Even though the press release cites Derrida and Žižek, this exhibition could be arranged after the films of Rainer Maria Fassbinder. Aline Bouvy’s steel, plaster, and neon S&M mural, for example, is straight out ofQuerelle. One could imagine Emmi, the office cleaner from Fear Eats the Soul dusting Rob Branigan’s peculiar architectural maquettes and tinsel forests and after she damaged them sobbing as earnestly as she cried over her dying Gastarbeiter husband Ali. 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 because disdain is the most comforting feeling. Fassbinder would have Lou Castel’s drunk film director scoff at Jacopo Pagin’s surrealist compositions on the set-within-a-set of Beware of a Holy Whore before all three forgot all about it after another drink.

Not a terrible filmography. Only Héloïse Chassepot’s slim, rainbow-coloured panels would be the odd ones out, like the all too real 2022 remake of The Bitter Tears of Petra von Kant in which François Ozon bafflingly turned Petra into Peter.

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

Gina Fischli, Love Love Love at Soft Opening ★★★★☆

Gina Fischli

Love Love Love


What good it is to be best in show when the competition is lame, crooked, or outright fake?

Gray Wielebinski, The Red Sun is High, the Blue Low at ICA ★☆☆☆☆

Gray Wielebinski

The Red Sun is High, the Blue Low


I knew that it was possible to understand art and life less after seeing an exhibition. I didn’t, however, imagine that experiencing Wielebinski’s work twice would only compound such damage.

Deimantas Narkevičus, The Fifer at Maureen Paley ★★☆☆☆

Deimantas Narkevičus

The Fifer


In the age of the decolonial, this is as quaint as it is outmoded

Wilhelm Sasnal at Sadie Coles ★★★☆☆

Wilhelm Sasnal


Only in flights of anger does this vision come close to becoming believable.

Ksenia Pedan, Revision at Cell Project Space ★★★★☆

Ksenia Pedan



Pedan’s paintings would rather be anything but.

Diego Marcon, Dolle at Sadie Coles HQ ★★★☆☆

Diego Marcon



Idle work became indistinguishable from leisure, vegetative time-passing from family life.