Tyler Eash

All the World's Horses

★★☆☆☆

On until 13 January 2024

I saw this show mid-install and the gallerist’s talk of identity politics hardly served the work’s best interests. But even under ideal conditions, the photo tableaux documenting this Goldsmiths-trained artist’s journey to his Native American roots would have likely annoyed me. The aura of these works doesn’t bridge continents. If they serve the artist’s project of “reindigenization”, it’s only as a grift. 

But Eash’s sculptures – assemblages of bull horn, shotgun cartridges, and wicker – jarred somewhat less. His painterly abstraction on cowhide – halfway between a tie-dye and a Rorschach ink blot – finally broke from his ideological bounds, as only an animal might. But for this world to be worth rebuilding, the artist must choose which ground is best ceded.


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

RE/SISTERS at Barbican ★★☆☆☆

RE/SISTERS

★★☆☆☆

Too many deadpan landscape photographs turn intrigue into fatigue and into paralysis.

Botond Keresztesi, NPC (No-one Paints Chrysopoeia) at Seventeen ★★★☆☆

Botond Keresztesi

NPC (No-one Paints Chrysopoeia)

★★★☆☆

There is no “too much” in this fantasy meme game.

Trevor Yeung, Hong Kong in Venice ★★★☆☆

Trevor Yeung

Courtyard of Attachments

★★★☆☆

This fishbowl universe is easy sea comfort but ultimately no sushi.

Ed Webb-Ingall, A Bedroom for Everyone at PEER ★☆☆☆☆

Ed Webb-Ingall

A Bedroom for Everyone

★☆☆☆☆

How can art improve the lives of communities? Wrong answers only.

Robert Ryman, Line at David Zwirner ★★★☆☆

Robert Ryman

Line

★★★☆☆

The artist’s signature becomes a distress call.

Shu Lea Cheang at Project Native Informant ★★☆☆☆

Shu Lea Cheang

Scifi New Queer Cinema, 1994-2023

★★☆☆☆

With material this gratuitously explicit and a curator this absent, it’s a miracle that this project wasn’t shut down by the licencing, or indeed art-historical authorities.

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