REVIEWS

/ Sadie Coles HQ
Installation view, Marvin Gaye Chetwynd, "Ze & Per," 2018.
by

Philomena Epps

Marvin Gaye Chetwynd’s practice, with its hubbub of miscellaneous and licentious references, evokes a mood of historic and anthropological ambiguity. Her works enmesh periods of cultural rebellion over the centuries, from medieval history, folk plays, and pagan festivals, to the genesis of Dada, and from the DIY culture of drag... continue reading
View of Martine Syms's "The Easy Demands," Sadie Coles HQ, London, 2017.
by

Morgan Quaintance

What’s to be gained from aestheticizing resistance, from reducing political protest and its violent and repressive fallout to a highly stylized image? This is the final question raised by Martine Syms’s second solo show in London, a tastefully oblique, risk-free display that simultaneously draws on and hollows out the recent... continue reading
Angus Fairhurst at Sadie Coles HQ, London
by

Karen Archey

Beyond the overwhelming personal tragedy, one of the many unfortunate consequences of suicide is that a life's work is often mitigated through the lens of it. For Angus Fairhurst's first gallery exhibition since his 2008 suicide, it is at once impossible to elide this tragedy yet simultaneously a disservice to let the artist's death supersede his work's autonomy. Curated and installed by artists Rebecca Warren and Urs Fischer at Sadie Coles HQ in London, the exhibition... continue reading

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Spike
galeria nara roesler
Brooklyn Rail
sp-arte
Kaleidoscope
e-flux iPad
The Third Line
Friedrich Petzel
Afterimage
Sprueth Magers
P420
Vitamin creative space
Carolina Nitsch