REVIEWS

/ Rodeo
View of Tamara Henderson's "Seasons End: Panting Healer," Rodeo, London, 2017.
by

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
View of Fouad Elkoury’s “Blues for the Orient,” Rodeo, London, 2016.
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Colin Perry

Fouad Elkoury’s photographic installations produce in me a swell of desire and mourning for places that I have never directly observed. Since the 1970s, Elkoury has photographed his home country of Lebanon and the surrounding areas of North Africa, the Middle East, and Europe, tracing a geography of places through... continue reading
Iman Issa, Fortune Teller (study for 2013), 2013.
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Orit Gat

What is the role of description in the way we talk about art? In art-historical discourse, iconography won out over formal analysis. The focus on line, color, and shape was replaced by the primacy of the subject matter. But more often than not, talking about art means talking about stuff... continue reading
View of “Burn These Eyes Captain, and Throw Them in the Sea!!,” Rodeo, Istanbul, 2014.
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Merve Unsal

As one wanders through the rooms of Rodeo’s apartment-cum-gallery space, works by eleven artists loosely connected by a low-key aesthetic make a timely statement on the condition of materiality now. Familiar media—a 16mm film, 35mm slides, paintings—are reinvented and intermixed with works fashioned from objects found in the domestic domain,... continue reading
Gabriel Lester's "DilSiZ" at Rodeo, Istanbul
by

Merve Unsal

The white box was never so intimate; enclosed in the square-shaped, relatively small room is a man's seemingly haphazard collection of oddities, triggering a sense of invasiveness upon entering. In "DilSiZ" at Rodeo, Gabriel Lester activates "luck" as a material, thus connecting the dissimilar physical objects in the exhibition.... continue reading

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