When Forms Come Alive

★★☆☆☆

On until 6 May 2024

This exhibition cannot decide if it’s a tourist attraction or a serious examination of sculpture’s relationship with movement. A survey so loosely framed could only ever be partial. This show, however, tries hard to rewrite the canon even when it needn’t. Where a more classic version of this story would have done with a David Medalla, for example, the Hayward’s account introduces a lesser-known Michel Blazy. This is one-upmanship confused by misreading of art history’s time arrow. Perversely, this method makes some works, like Choi Jeong Hwa’s mass-market totems, look like poor cousins even when they aren’t.

The project also betrays an impulse to read any material, shape, or colour as fad politics. A layer of faux more-than-human environmentalism, for example, is crowbarred into Teresa Solar Abboud’s resin legs and tongues and serves the work no favour. The show’s at least partly Ideological selection criteria, likewise, failed to exclude Marguerite Humeau’s macabre plastic fungi. By contrast, the equally atrocious rollercoaster by EJ Hill and Eva Fàbregas’ giant vibrating dildo can at least be excused as mindless selfie fodder.


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

Auudi Dorsey at PM/AM ★★★★☆

Auudi Dorsey

★★★★☆

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

Justin Caguiat, Dreampop at Modern Art ★★★★☆

Justin Caguiat

Dreampop

★★★★☆

This is the sort of exhibition that makes a critic question the quality of their judgment.

Carole Ebtinger, Esther Gatón at South Parade ★★☆☆☆

Carole Ebtinger, Esther Gatón

phosphorescence of my local lore

★★☆☆☆

Rot overpowered this subject and came for the object next. 

Aleksandar Denić, The Serbian pavilion in Venice ★★★☆☆

Aleksandar Denić

Exposition Coloniale

★★★☆☆

Denić took the Biennale’s theme literally, as though he was not in on the art world joke.

Jennifer Bartlett, In the House at Pippy Houldsworth ★★★★☆

Jennifer Bartlett

In the House

★★★★☆

“Sky”, “roof”, “31”, a mantra turns into paint.

Jan Gatewood, Group Relations at Rose Easton ★☆☆☆☆

Jan Gatewood

Group Relations

★☆☆☆☆

Such thin metaphors could only have come from LA.

×