Elli Antoniou, Ali Glover, Richard Dean Hughes

things fall apart; the centre cannot hold

★★★★☆

Curated by Kollektiv Collective
On until 26 January 2024

Despite this gallery’s modest size, it takes more than a moment to note that one is in an exhibition. This is only partly because the space is also a bookshop: Ali Glover turned the showroom interior walls inside out. This gesture makes for a peculiarly sterile building site and an adventure playground for two others. 

Elli Antoniou’s drawings in metal rendered on steel panels with the aid of an angle grinder are thrillingly disorientating. The internal reflections of these slivery surfaces defy the picture plane. One blink of the eye reveals barbed wire and a planetary system. A second gives way to a whole new cosmos.

Echoing this doubt, Richard Dean Hughes’ resin cast bedding is half NHS waiting room, half luxury Egyptian cotton. Beads of glass strewn across these forms point to some dramatic fracture while sheets of newspaper suggest that it is long in the past.

These works could bear witness to the birth of a star or the heat death of the universe. The curators, sadly, don’t want to know which. This sends Glover to Sisyphean toil while letting Antoniou and Hughes chase myths of their own making.


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

Șerban Savu, The Romanian Pavilion in Venice ★★★★☆

Șerban Savu

What Work Is

★★★★☆

This Elysium is part panel house block, half Roman ruin

Some May Work as Symbols at Raven Row ★★★★☆

Some May Work as Symbols: Art Made in Brazil, 1950s–70s

★★★★☆

Art history can catch modernity in splitting from the past and thus from itself.

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.

Amanda Wall, Femcel at Almine Rech ★★★☆☆

Amanda Wall

Femcel

★★★☆☆

There’s no dignity in paint when the arc of art history tends to “show hole”.

Xie Nanxing, Hello, Portrait! at Thomas Dane ★★★★☆

Xie Nanxing

Hello, Portrait!

★★★★☆

Looking at Xie’s portraits is a little like wearing a virtual reality headset over only one eye.

Michael Andrew Page, Claustrum at Project Native Informant ★★★★☆

Michael Andrew Page

Claustrum

★★★★☆

Page’s tent, brain, and the cathedral take the same form for a pretty good reason.

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