Yuki Nakayama

After the Rain

★☆☆☆☆

On until 2 June 2024

Can an installation be too site-specific? Even without the help of an artist, this gallery’s quirky interior could not conceal the evidence of the site’s former life as an upscale spa. The showroom was once the steam room and the luxury marble floors tickled the feet of swimmers rather than entice would-be collectors. 

Nakayama’s sculptures and paintings echo handrails, lane lines, and life rings, as if to tempt the patron’s mind to the riviera with beach sand and sailboats. These fixtures were once useful. Today, the artist’s facile interventions only expose the gimmick.


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

Liam Gillick, The Sleepwalkers at Maureen Paley ★★★☆☆

Liam Gillick

The Sleepwalkers

★★★☆☆

Gillick’s practice lacks obviously consistent character, save for it is sparseness of means and the ungraspability of its referents.

The Unfinished Business of Living Together at the Swiss pavilion in Venice ★★★☆☆

Nina Wakeford, et al.

The Unfinished Business of Living Together

★★★☆☆

If the Swiss don’t think they’re free, who is?

Future Relics at Union Pacific ★★★★☆

Future Relics

★★★★☆

“Reskilling” has the same ring in art as “reindustrialisation” does in geopolitics.

Matthew Barney, SECONDARY at Sadie Coles HQ ★★★☆☆

Matthew Barney

SECONDARY: light lens parallax

★★★☆☆

Secondary turns the gallery into an American Football stadium. But all the seats in the house are the cheap seats and the game lacks a cheerleader.

Trackie McLeod, FRUIT II at The Bomb Factory ★★☆☆☆

Trackie McLeod

FRUIT II

★★☆☆☆

“Working-class” and “queer” appear in the collateral as obligatory. What doesn’t is “white”.

Li Yi-Fan: Screen Melancholy at Taiwanese pavilion in Venice ★★★☆☆

Li Yi-Fan

Screen Melancholy

★★★☆☆

Characters lose themselves in screens-within-screens.

×