2024 - Issue 129
Showcasing artists and works that caught my attention last week. Subscribe to the Weekly Newsletter to find out what didn’t make the cut.
Having been to Seoul I’d like to put your mind at ease: The streets are nowhere near as sticky or visceral as these works that Korean artist Heemin Chung (@heemintheactivated) says were inspired by objects she encountered on her early morning walks. The paintings look like layers of snot and skin that’ve washed ashore from some decomposed alien seaform, and the ghostly sculptures frozen on the bright white disco dancefloor look like they’re patiently waiting to spring alive and go “Boo!”. With layers of transparency like a curious facial expression, hinting at hidden meaning you can’t quite identify, this show is gross, eerie and oddly compelling.
‘Umbra’ at Thaddaeus Ropac (@ThaddaeusRopac) until 20 Nov
Are these works any good? Probably not, but I got stuck into them for quite some time. I was attracted to textures that turned out to be layers and layers of notebook paper, pasted together to create a ‘canvas’ base. Framed and hung with masking tape, I tried to find meaning in the random marks and scribbles of the visuals (Is that an elephant?) that might correspond to the quirky phrases in the text-based works. Displayed alongside hundreds of paper bowls that Anthony Corner (@corner.anthony) used to mix his paint, the show has the casual feel of an open studio.
‘SHH… WHAT’S THAT?’ at Cross Lane Projects (@crosslaneprojects) until 23 Nov
The Saatchi Gallery (@saatchi_gallery) free shows can be hit-or-miss, but the current trio makes a trip to Chelsea a no-brainer. Two rooms of abstracts include large, imposing works from Frank Bowling (@frankbowlingstudio) and Karolina Albricht (@karolinaalbricht) that serve as a great warm-up for the African wax print fabrics by Samuel Nnorom (@nnoromsamuel) which look just as good as tapestry as they do hanging as sculpture. It all ends with a group show where a dozen emerging artists explore the complex notion of 'home', with some great works from Charlotte Wainwright (@_charlotte__w), Corbin Shaw (@corbinshaww), Emmely Elgersma (@emmely), Jiaxi Li (@liuliandaxia) and Rithika Pandey (@chashmishkahiki).
UNREAL CITY: ABSTRACT PAINTING IN LONDON until 17 Nov (Galleries 1+2)
SAMUEL NNOROM: MULTITUDE OR MINORITY until 24 Nov (Gallery 3)
THE WALLS BETWEEN US until 25 Nov (Gallery 4)
I enjoyed the incredibly lush green carpet that you sink into like quicksand, and the spinning LED fans placed dangerously, laughably close to the entry to see them, but the current show (Chronoplasticity) is a bit of a mess and the 99 page handout — NINETY-NINE PAGES! — feels too much like homework to be helpful. The top floor exhibit (How to Eat a Rolex) is equally obtuse. But the flat? Oh my god, the flat!
A top floor residence was built for seamstress sisters Rebecca, Hannah and Evie when the Raven Row building was converted into offices in 1971. Now open for exhibits, it feels like stepping back in time to wander around the textured patterned wallpaper, built-in wardrobes and antique furniture that have been left in situ. Quite frankly, the art can’t compete.
‘Rebecca’s Flat’ at Raven Row (@raven__row) until 08 Dec
Honourable Mention Artworks
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I thought the child-sized straitjacket was a disturbing Victorian artefact that might have a Dickensian backstory. It’s actually a modern work made with Japanese tissue paper by artist Irrum Ahmed (@irrumahmedart), who also drew the patterns. Titled ‘Seeing Is Believing’, it hints at the impacts that closed-minded religious and cultural beliefs can have on children.
I saw this at Divine Perspectives (now ended) hosted at St Michael + All Angels church, which has been restored to its original glory after housing an architectural salvage dealer for almost 50 years. It’s now a venue for hire.
PLUS…
Check the What’s On page so you don’t miss any other great shows closing soon.
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