Vinca Petersen
Me, Us and Dogs


On until 22 December 2023

This modest display of the artist’s personal photographs of people, campsites, and dogs taken during her fifteen-year spell as a traveller and squatter and recently made up into four framed assemblies hardly makes for an exhibition. The tableaux, sparsely annotated in Petersen’s hand, sketch stories of free love, free movement, and free association. 

But constrained by this gallery, they are merely vehicles for nostalgia. And that’s a pity because Petersen’s work of ‘giving voice to underrepresented communities’, as curatorial fashion today would have it, has roots in a life of both joy and struggle that social practice rarely succeeds in engaging. To go all out on it is no answer, either: Petersen’s website has pictures of this critic examining her much larger installation in 2019.

Such is the lot of political alternatives. Close up, Petersen’s innocents today conjure ideas of redneck resistance. At scale, of state-marketed utopia. The middle ground is envy.

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

Trevor Yeung, Soft Ground, at Gasworks ★★☆☆☆

Trevor Yeung

Soft Ground


It’s stressful enough to fuck in the forest for fear of passers-by or the police; imagine having to also look out for curators.

Justin Fitzpatrick, Ballotta at Seventeen ★★★★★

Justin Fitzpatrick



The reward for taking part in this experiment of life is ascension to the holy orders. 

Entangled Pasts at The Royal Academy ★★☆☆☆

Entangled Pasts, 1768–now


Who could have thought that these mantras would turn into rote?

Sula Bermúdez-Silverman, Bad Luck Rock at Josh Lilley ★★☆☆☆

Sula Bermúdez-Silverman

Bad Luck Rock


This is a poor man’s version of history or a philistine collector’s absolution.

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

Ksenia Pedan



Pedan’s paintings would rather be anything but.

Auudi Dorsey at PM/AM ★★★★☆

Auudi Dorsey


Dorsey records the human experience with the true universalism of paint.