REVIEWS

Nick Bastis’s “Sentries”

ERMES-ERMES, Rome

View of Nick Bastis's "Sentries," Ermes-Ermes, Rome, 2017.
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Simone Menegoi

“Can you see anything?” Lord Carnarvon anxiously asked Howard Carter, who was peering, through a small hole by the light of a candle, into the anteroom of the tomb of Tutankhamun. “Yes, wonderful things!” was his famous answer. Viewers who access Nick Bastis’s exhibition do not see “wonderful things”; on... continue reading
“Letter from Istanbul”

PI ARTWORKS, London

View of "Letter from Istanbul," Pi Artworks, London, 2017.
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Filipa Ramos and Morgan Quaintance

In curating “Letter from Istanbul” at Pi Artworks, London, Morgan Quaintance combined multiple approaches to examine the cultural, social, and political life of Istanbul. He expanded the format of the exhibition to open a direct dialogue between artworks and diverse materials and documents, while also including radio broadcasts and a... continue reading
View of Tamara Henderson's "Seasons End: Panting Healer," Rodeo, London, 2017.
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Tom Morton

A rule of thumb: hearing about other people’s trips abroad is boring. Another: hearing about their dreams is even worse. Given that the work of Tamara Henderson draws on the Canadian artist’s world-girdling nomadism (her CV is a litany of travel grants and residencies) and her own unconscious (past projects... continue reading
Mandla Reuter

FRANCESCA MININI, Milan

View of Mandla Reuter, Francesca Minini, Milan, 2017.
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Ilaria Bombelli

The invitation to the third solo show by Mandla Reuter at Francesca Minini bears no title or explanation. It relies on just one image, evocative enough on its own: a moonless sea, rippled by waves. Even the press release, stripped of all syntax, is reduced to a chain of words... continue reading
Ackroyd and Harvey, Vester Allé 7, 2017.
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Isobel Harbison

The inaugural ARoS Triennial, “The Garden—End of Times; Beginning of Times,” opened in Aarhus, 2017’s European Capital of Culture, on the morning that Donald Trump stood in the White House garden and announced his plans to withdraw the US from the Paris Agreement. ARoS’s director, Erlend Høyersten, promises that this... continue reading
“At this stage”

CHATEAU SHATTO, Los Angeles

View of “At this stage,” Chateau Shatto, Los Angeles, 2017.
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Travis Diehl

Where to begin? Where else but at this stage? A cotton boll embalmed in a bell jar like the Disney rose in Beauty and the Beast (1991): Aria Dean’s Dead Zone (1) (2017) gives the rose’s place to a white commodity once harvested by black people made commodities. The cotton... continue reading

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