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:

Yoko Ono at Tate ★★★☆☆

Yoko Ono

Music of the Mind


This show will sell tickets. But it won’t change the weather.

Dryland, the Greek pavilion in Venice ★★★★☆

Thanasis Deligiannis, Yannis Michalopoulos



It’s Sunday in the village. And the main square is deserted.

Eddie Ruscha, Seeing Frequencies at Cedric Bardawil ★☆☆☆☆

Eddie Ruscha

Seeing Frequencies


But either the curator or the artist should have known better.

Nick Relph, Fils, ta vision! at Herald St ★☆☆☆☆

Nick Relph

Fils, ta vision!


There’s little for the eye to hang on and none of the punk culture of Relph’s earlier practice emerges from the works.

Tommy Camerno, Delirious at Filet ★★☆☆☆

Tommy Camerno



What’s left of the show are stage props that feed adolescent imaginations with false memories of the long-finished party.

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

Ksenia Pedan



Pedan’s paintings would rather be anything but.