Rachel Rose Lafayette Anticipations / Paris
In the rearrangement of distance one finds a slippery continuum across Rachel Rose’s liminal and alchemical work. Distance, which determines…
Alex Bennett
Paul P. "Centaurs on the Beach" Maureen Paley / Morena di Luna, Hove
In the face of it: rain shower, blustering waves and foreseeable spume, the sea soon cast the wetness of time…
Marc Camille Chaimowicz “Paintings…” Cabinet Gallery / London
The ellipsis suggests dilation, a space for curtailed retrospection or future elaboration, a surfeit of meaning to be uttered or…
Daiga Grantina Discusses “What Eats Around Itself” at the New Museum, New York
Alex Bennett: Though your work involves sculptural assemblages of extremely diverse material, it’s curious to know that film was your…
Cerith Wyn Evans “No realm of thought… No field of vision” White Cube / Bermondsey
If the stark, ascetic coda of Cerith Wyn Evans’s sculptures disintegrates under anything it is the sensuality of optics. Diluting…
Ian Law “Drips the room” Piper Keys / London
In She’ll (2013/2020) a room becomes a plinth; it is a replica of the internal dimensions from Ian Law’s bathroom…
Sean Steadman “1,000,000,000,000” Project Native Informant / London
Roiling space, deep time, off radar. Some kind of churning galactic volume is given over, like nakedness or the way…
Jessi Reaves Herald St / London
Jessi Reaves’s New outfit standing container (all works 2019) is a darkling. Three antilopine console legs support an upturned, cankered…
Sidsel Meineche Hansen Chisenhale gallery / London
“Welcome to End-Used City” continues Sidsel Meineche Hansen’s ongoing consideration of techno-capitalism’s stranglehold on biopolitics. The focus here is the…
Paris Roundup 2019
Saturation occurs once again, the city drenched in expos, events, and itinerant first-timers. Given the slight period in which to…
Lewis Hammond Arcadia Missa / London
Used as the final shelter, the keep — a fortified tower common to castles of the Middle Ages — performs…
Morag Keil Institute of Contemporary Arts / London
Morag Keil’s practice is ouroboric: self-referring, self-erasing, self-consuming, regurgitating. Glazed duffel bags and rucksacks slump like prolapsed black guts: damp,…