Issue 129
Last week I crossed the 800 mark for art visits this year. Although technically I didn’t, since nine trips were actually a second viewing. Sometimes art is so nice it’s worth seeing twice, and sometimes art is so nice that it gets shown endlessly. Last week I was reminded of that when I finally got round to braving the queues to enter Yayoi Kusama’s latest infinity room at Victoria Miro, and then popped into Southwark Cathedral to see Luke Jerram’s Gaia, now being displayed for the 80th time in the UK since 2019.
That last sentence might appear dismissive but I’m actually a huge fan, which is why I went. Both are stunning concepts that really deserve to be experienced at least once by everyone. I’m not that fussed about them being rolled out again and again and again even though I, and many other arts writers, often comment negatively on the recurring nature of these shows. A recent post by Rosie Millard explores that contradiction in detail, with a friendly reminder to jaded critics that “the whole point… is to catch a huge audience of non-specialists.”
What really vexes me, however, is the business model. Tate Modern repeatedly extended their Kusama Mirror Rooms show for three years since it was a consistently sold-out ticketed experience that generated income and helped lure people back to the museum post-COVID. Whereas Gaia is mostly shown in Churches or other venues that don’t charge admission, and Victoria Miro is a commercial gallery that’s free to visit. It ain’t cheap to install and maintain these exhibits, and it’s highly unlikely that the “free entry” model is going to lead to Victoria Miro sales or conversions to Catholicism.
If any investigative journalists are reading this, I’d love to read an in-depth analysis on arts funding and the reasons why non-commercial and/or private venues with no obvious ways to monetise footfall frequently host these kinds of events. Feel free to leave your own thoughts in the comments. I expect some of my readers might have some firm opinions on this.
Issue 129
A lot of work in this week’s issue might push you out of your comfort zone. Featuring: Heemin Chung at Thaddaeus Ropac; Anthony Corner at Cross Lane Projects; three great shows at Saatchi Gallery; a rare chance to visit Rebecca’s Flat on the roof of Raven Row. Plus one honourable mention artwork.
Read the full issue online for mini-reviews of each show, with 35 photos!
More Reviews:
I didn’t see any shows last week that inspired me to write a full review, but I did go window shopping…
LAPADA — got a spare £100k? @ Berkeley Square
Eight things I’d buy if I had a spare £100,000.
What else, and what didn’t make the cut?
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👍🏻 IF YOU’RE IN THE AREA — but don’t go out of your way…
Doyle Wham — Stunning, evocative photography but there’s only 9 images. If you want more, or happen to be averse to climbing three flights of stairs, there’s a larger selection on the web.
Gallery 121 — Have you ever said to a creative friend: You should show your work? If they’re not an established artist then this is what you’d get when they do. Some charming pieces and the excitement of potential.
Haricot — I loved the earthy feel of the giant screenprints on textured canvas, but the glossy works on paper made me eyes go funny.
Victoria Miro — Quite possibly the least meditative mirror room Yayoi Kusama has ever made (It’s like a disco! 🪩🕺) but the sculptures, both soft and solid, are fab and you don’t need a ticket to see them.
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👎🏻 NOPE — you can give these shows a skip:
Beers — The two smiley “balloon faces” were just the pick me up that I needed. As for the rest of the works? Erm… I liked the textures.
Newport Street Gallery — Skeletons at a dinner party. Skeletons with breasts. Skeletons dressed up as Native Americans and riding horses. Etc etc etc ad nauseam. This is a fantastic show for fans of 1980s heavy metal album cover art. Everyone else will wonder why 89 works were hung when a dozen would have been enough.
Shoreditch Modern — I’m really rooting for this gallery to be a success, because their ambition, and execution with hangs, is inspiring. Alas, this is yet another show where too many works just aren’t good enough.
Anonymous Art Anecdotes
I recently received a generic invitation / request for review that appeared to be a mass mailing that probably went to many, many people. The sender didn’t even bother to add my name to the greeting. That being said, it was a well considered outreach that included extracts from, and links to, previous reviews about the entity that was contacting me. And that’s how mass mailing laziness turned into an unintended slap in the face.
One of the reviews they linked to was by a writer who thought the most appropriate way to begin their review was to dismiss other arts writers/publishers. I was one of the unsubtly referenced targets, which is something I was unaware of until I read the extract that was included in the e-mail that I had just received.
Has negging now become a subtle way to try to get critics to review your work? Because essentially my summary of the request I received is this: “Hi. We’d like you to review our show, because another art writer thinks you’re shit.”
Looking ahead…
Things I’m excited to visit this week:
Unveiled Silence @ Ming Gu Gallery (Part of Asian Art in London at Sotheby’s Wemyss Gallery) — 29 Oct - 04 Nov
Susanne Baumann - Fading Echoes @ Willesden Gallery — 29 Oct - 09 Nov
Stephen Harwood - Future Ghosts @ Benjamin Rhodes — 30 Oct - 14 Dec
Skull Huggery @ StolenSpace Gallery — 31 Oct - 24 Nov
Abdulrazaq Awofeso - Akube Remix @ Ed Cross — 31 Oct - 20 Dec
Koestler Arts: No Comment @ Southbank Centre — 1 Nov – 15 Dec
The Gallery Entry Game
How many of you are actively looking before you walk in the gallery?
Here’s this week’s challenge: Cardi Gallery and D Contemporary occupy neighbouring, and nearly identical, 17th century townhouses. Can you tell their entrances apart?
If you aren’t sure which one this is, have a guess! You’ve got a 50/50 shot.
Good luck! The answer will be in next week’s newsletter.
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Last week’s gallery was Neven, a relatively new venue established in 2023. Based on the low number of guesses it’s obvious very few of you have been. For a small space they put on some impactful shows, so be sure to check them out the next time you’re near Cambridge Heath and/or Bethnal Green.
Here’s what it looks like. Can you spot the one single photo edit?
What else would you like to see / read / know?
Thanks for making it all the way to the end of my Newsletter. Did you like what you read? Was there something else you expected? Leave an comment and let me know!
