Exhibition Review: Spectral Kinship, ai. gallery, London Until 7 November 2026
red caught in remembered
kin speaking through another skin
– Drenched Co.
At the opening, a friend of Alison Wing Yin Poon told me that work shaped by diaspora can scratch an itch, something trapped in the body that has to be dredged out. A red chilli was tattooed on her wrist. Its colour, the red of chilli steeped in oil, seemed to have entered the room ahead of her.
Red is caught inside remembered, sacred and shared. Kin moves through speaking and into skin. A borrowed language can conceal the very feelings it struggles to release.
Perhaps this is why grandmothers and their belongings recur in the work she described. When history misplaces you, a chair or an old cloth may hold the pressure of a life that passed through it.
Poon’s Pot Luck makes this inheritance strange again. A ceramic form hovers between a vase and a female torso, its red migrating into the cane beneath it. It balances what it has inherited on a borrowed stool.
Elsewhere, Alison reappears inside Caroline Wong’s painted screen, as Liu Xuan’s Jiangxi materials turn like wings at the pull of someone else’s hand. Mingxuan Zhang records bodily pressure through torn nylon. Charmaine Poh lets migrant women speak across Singaporean time; Kent Chan’s audio from a future of expanding tropics drifts slightly beyond the show’s bodily hauntings.
Sophie Guo draws on Avery Gordon’s language of haunting to give these works a shared direction, while the exhibition remains most alive in the moments before explanation settles over them, when red passes from wrist to sculpture and kin moves between bodies.
Downstairs, the dimness increases the distance between works, leaving kin more securely held in language than between the works themselves. Yet whatever coherence the exhibition struggled to make was already moving among its visitors. Friends had come for friends. For an evening, red and kin stepped out of the words that held them and into the room.
See https://a-i-gallery.com/exhibitions/74-spectral-kinship-tenter-ground-london/
See also https://courtauld.ac.uk/people/sophie-guo/
See also https://www.soaked.space/2026/09/exhibition-review-spectral-kinship-ai.html
Caption: Image above: Installation view, Spectral Kinship, ai. gallery, London, 2026. Curated by Sophie Guo.
Image courtesy of the artists and ai. gallery.
We take great care to respect the integrity of every image. The views expressed here are ours alone and do not represent those of the gallery, curator or artists.
#drenchedco #soakedspace #SpectralKinship #aiGallery #SophieGuo #AlisonWingYinPoon #CarolineWong #LiuXuan #MingxuanZhang #KentChan #CharmainePoh
Exhibition Review: Jochen Mühlenbrink, SIN – LON: Window Seat, Cuturi Gallery, London Until 3 October 2026
peel the silver from the distance
and carry the window home
-Drenched Co.
At the opening of the exhibition, my wife and I stood before one of Jochen Mühlenbrink’s blue-green windows in Cuturi’s new London gallery. I asked why he had stuck what looked like silver tape across the painting. He fixed me with piercing blue eyes and said that if I could peel it away, the painting was mine.
I moved closer, looking for that slight edge where tape betrays canvas. The tape was paint.
Jochen told me the blur in his paintings came from spray cans. I had read its soft, even haze as airbrushing, and as our conversation moved towards street art, another history entered the can. It carries the speed of a fugitive mark, the body close to the wall. Here, it makes the landscape withdraw.
Draw a finger through condensation and it will leave the mark of somebody standing close to the glass. In Jochen's paintings, the smiley face and wandering lines appear as evidence of that body, though breath and finger exist only in the painting’s memory. Mühlenbrink makes permanent an encounter the surface has invented.
Window Seat gives us the world as a view while keeping the body sealed inside. SIN and LON become places passing beyond the glass, held in the blur between departure and arrival. We remain somewhere along that route, looking through a pane which appears to remember every touch, keeping each one on its surface.
I had already encountered these paintings on social media, where their language had reached me ahead of the work. In the gallery, scale and surface return some uncertainty to the eye, although once the first strip of painted tape has caught you, the later works can begin to feel like variations on a wager whose answer is already known.
Still, his offer stayed with me. Find the edge between image and object and the window can come home. I left with the faint sensation of silver beneath my nail, the bodily memory of an edge that had only ever been paint.
See https://www.cuturigallery.com/exhibitions/148-sin-lon-window-seat-jochen-muhlenbrink/
See also https://www.jochen-muehlenbrink.com/
See also https://www.soaked.space/2026/09/exhibition-review-jochen-muhlenbrink.html
Caption: Image above: Installation view, Jochen Mühlenbrink, SIN – LON: Window Seat, Cuturi Gallery London, 2026.
Image courtesy of the artist and Cuturi Gallery.
We take great care not to harm the image in any way. And these views, they are ours only and not those of the gallery or artist.
#drenchedco #soakedspace #JochenMuhlenbrink #CuturiGallery #CuturiGalleryLondon #SINLONWindowSeat
Exhibition Review: Eileen Cooper RA, Learning to Fly, Kristin Hjellegjerde Gallery, London Until 3 October 2026
cute mutiny
her dress full of thunder
the sky catching at her hem
— Drenched Co.
Domestic life seldom feels like a subject while you are inside it. It passes through your hands and leaves its shape on the body long before you turn to look.
In one of Eileen Cooper’s paintings, a dress hangs from a tree apart from the body, holding its emptiness with surprising fullness, as though something carried for years has entered the cloth. Nearby, a woman climbs through the branches towards it, or perhaps away from it, and Cooper keeps her between these purposes, at the point where a familiar action begins to gather the charge of escape.
Sara Ahmed writes about orientation through what the body finds within reach, and Cooper’s women keep testing that reach, climbing and leaning beyond the composure expected of them while remaining tied to whatever bears their weight. The ladder has been placed and the tree holds; freedom has weight here and leans upon something.
Whimsy tips the repetitions of domestic life out of place, allowing the work of the day to loosen its hold for a moment. Cute mutiny carries the pleasure and the limit of the show, since these figures disobey gravity while their rebellion remains charming enough for the room, their strangeness almost house-trained. Across the exhibition, the lifted body begins to feel like a familiar answer, and some of the unease slips quietly into style.
I wanted the domestic life inside these paintings to push harder against its frame and found myself waiting for the thunder to leave the dress. It remained caught in the cloth, a low charge beneath the charm, while the sky held her hem gently enough for the climb to continue.
See https://kristinhjellegjerde.com/exhibitions/582/overview/
See also https://www.soaked.space/2026/09/exhibition-review-eileen-cooper-ra.html
Caption: Image above: Installation view, Eileen Cooper RA Learning to Fly, Kristin Hjellegjerde Gallery, London 2026
Image courtesy of the gallery, the artist and BJ Deakin Photograpy.
We take great care not to harm the image in any way. And these views, they are ours only and not those of the gallery or artist.
#cutsoverart #drenchedco #soakedspace #EileenCooperRA #KristinHjellegjerdeGallery #LearningtoFly #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview
Exhibition Review: Carnal Autopoiesis, GPS Gallery, London Until 20 September 2026
I wear this body like a hand-me-down
the room keeps changing how it fits
-Drenched Co.
A hand-me-down belongs to more than one life before it belongs to yours, arriving with the pull of a previous body still caught in its seams. On another body, its shape begins to change again.
A body comes to us in much the same condition. Carnal Autopoiesis gathers four artists around this unfinished fit, asking how a body holds together while the room works on it. Autopoiesis describes the way a living system produces and maintains itself, yet here self-generation feels crowded with other presences.
Air enters Mandeep Dillon’s latex forms and gives them a shape that gravity slowly draws elsewhere. Jonathan Armour stays at the skin, where the body meets the world and carries away its touch.
Jamie Gallagher allows the face to pass through code before returning it to paint. Kika Sroka-Miller stays with the mark before the eye fits it to a meaning.
Their work meets in the act of admitting something from elsewhere and carrying its pressure forward.
The self starts to look like a garment endlessly taken in and let out again, holding the pressure of every room it has passed through, while the room keeps changing how it fits. The title itself has been let out rather generously, until almost any act of change might fit inside it. The works remain stranger and less settled than the word allows. - Raj
See https://gpsgallery.co.uk/2026/08/28/carnal-autopoiesis/
See also https://www.soaked.space/2026/09/exhibition-review-carnal-autopoiesis.html
Caption: Image above: Installation view Carnal Autopoiesis, GPS Gallery, London 2026
Image courtesy of the artists.
We take great care not to harm the image in any way. And these views, they are ours only and not those of the gallery or artist.
#cutsoverart #drenchedco #soakedspace #MandeepDillon #JamieGallagher #KikaSrokaMiller #JonathanArmour #gpsgallerylondon #CarnalAutopoiesis #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview
Exhibition Review: Shoes Off, Kawan! Kawan!, Hypha Studios, London
"kawan, kawan
we have made a room
inside somebody else’s building"
- Drenched Co.
Kawan means friend in Malay and, said twice, crosses the small distance between one person and another, the first word calling out and the second returning with company.
Shoes Off begins at the threshold, with the old understanding that some part of the outside gets left there. Yet even this threshold belongs to somebody else. The exhibition occupies a vacant unit in Euston Tower, lent by British Land for a few weeks, which lends its hospitality a slight tremor: come in, though the room itself is only passing through.
The exhibition reaches for care and belonging more times than either word can hold. Something of both survives because the works keep their differences and their own weather. Someone lays a rug across the unfinished floor. Elsewhere, a tent pole leans over a few roof tiles, waiting for a house that has yet to come.
Outside, Euston Tower keeps its name. Inside, somebody says friend twice and means it.
See https://www.instagram.com/p/DbvbMjQCEGS/
and https://www.instagram.com/weareshoesoff
See also https://www.soaked.space/2026/09/exhibition-review-shoes-off-kawan-kawan.html
Studio Visit: Henrique Oliveira, London
Exhibition Review - Yuki Nakayama: 'After the Rain' A.I. Gallery, London till 2nd June 2024.
“ludic shot full of lucid
slip of a thing thrown in the air
from this plane you never see her angle
outflanked with potential"
- Drenched Co.
Comment: "Nakayama's shapes of play pylons in eroding gradients strobed throws of material action planes, angles, arcs and maths in tosses, slides, elbows and faces gamed wildness in grounded play legs swinging at the edge of a swing into nothingness what is dark matter? gravity and visible matter in a dance tiny beach-damp boxes open to an open sky alternative spaces to a full brown daily humdrum thrown pendulums, trespassing fulcrums and red-heavy delinquents maths and protractors and ruled polygons with broken arches song of a good fight in its rifts and roar, its slips and traverses.
Nakayama's fascinating maps and models of a space where a special order reigns absolute, where an affinity between play and order makes it a 'consecrated space' of play 'rituals', makes me think that she is taking a snapshot of some material action of some kind of embodied practice - the shapes and patterns of an experiential order. I loved Sandbox #1 to #4 ( in picture)." - Raj
See https://a-i-gallery.com/exhibitions/56-after-the-rain-1a-tenter-ground-london-e1-7nh/overview/
See also https://www.soaked.space/2024/04/exhibition-review-yuki-nakayama-after.html
Caption: Image above: Installation view Yuki Nakayama, A.I. Gallery London 2024
Image courtesy of the artist and A.I. Gallery, London.
We take great care not to harm the image in any way. And these views, they are ours only and not those of the gallery or artist.
#cutsoverart #drenchedco #soakedspace #YukiNakayama #aigallerylondon #aigallery #aftertherain #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview
Exhibition Review - Tuan Vu : 'Elysium' Kristin Hjellegjerde Gallery, Wandsworth, London till 13th April 2024.
-march24%20copy.jpg "Art exhibition review by Drenched Co - Tuan Vu 'Elysium' at Kristin Hjellegjerde Gallery, Wandworth,London")
“lob an abstract into backwash
glaze snarled up in a mesh
a dreamy wreckage of time"
- Drenched Co.
Comment: "In Elysium, Tuan reaches for what seems like a vanished moment in art history when a frankness in declarations for painted surfaces met the mystic realms of colours that bloomed and receded and collided with conflicting proportions and perspectives and wild designs. Any content apart from ideal dreamy happiness ( Elysium-like) seems to be an affront to the purity of these paintings but Tuan has charmingly managed complexity and seduction simultaneously while giving hints of himself without appearing presumptively autobiographical. Beauty in these paintings, apart from being a web of half hidden clues, suggestions and portents is about an emerging dream-like fullness, a memory of an unfolding life that, for me, touched on a certain stillness where one can receive time." - Raj
See https://kristinhjellegjerde.com/exhibitions/405/overview/
See also https://www.soaked.space/2024/03/exhibition-review-tuan-vu-elysium.html
Caption: Image above: Installation view Tuan Vu 'Elysium' Kristin Hjellegjerde Gallery, Wandsworth, London.
Image courtesy of the artist and Kristin Hjellegjerde Gallery, Wandsworth, London
We take great care not to harm the image in any way. And these views, they are ours only and not those of the gallery or artist.
#cutsoverart #drenchedco #soakedspace #tuanvu #KristinHjellegjerdelondon #KristinHjellegjerde #elysium #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview
We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.
Exhibition Review - Martin Cordiano:'In Side Out' Ab-Anbar, London till 6 April 2024.
“Cordiano raises scaffolds
...felt, manifold
and inside..."
- Drenched Co.
Comment: "In 'In Side Out', Cordiano alludes to political discourses that no longer carry utopian ideals. I see Cordiano's objects and spaces as models and scaffolds that are no longer bound by their contracts as metaphors. If the artist is making models, they have become independent of the world and from the particular theory of the world they are designed to demonstrate. If he is building spaces, then their scaffolds sit independent like buildings are independent of architects. They become new ways of thinking about the world. The particular way they are ruptured together reminds me of the failures, the pragmatism, the diversification, the realism and especially the cynicism of today's politics and its spaces. Intimacy in Coridano's objects and spaces is fractured - it panders to the actuation of new conceptions of the world through its autonomous models and scaffolds, continually manipulated and recontextualised." - Raj
See https://ab-anbar.com/exhibitions/53-in-side-out-martin-cordiano/press_release_text/
See also https://www.soaked.space/2024/03/exhibition-review-martin-cordianoin.html
Caption: Image above: Installation view Martin Cordiano 'In Side Out', Ab-Anbar London 2024
Image courtesy of the artist and Ab-Anbar, London.
We take great care not to harm the image in any way. And these views, they are ours only and not those of the gallery or artist.
#cutsoverart #drenchedco #soakedspace #Martincordiano #abanbarlondon #abanbar #insideout #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview
We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.
Exhibition Review - Boedi Widjaja: 'Declaration of' at Helwaser Gallery, New York till November 7, 2019 .
“THE ONLY POSSIBLE RELATIONSHIP TO TIME TODAY IS A CRIMINAL ONE."- Drenched Co.
Notes: "I am with Boedi, doing fugitive work, on fugitive time, with errant fugitive moments on the run in the present. I am with Boedi, returning like the dead, setting the present against some history that isn't regret, to remind us of yesterday's sense of tomorrow. I am with Boedi, as he folds, as he multiplies, as he pilfers a pause into the now, and future nows, stitching it through with repetition of drawn lines and captured light. I am with Boedi, the outlaw, as he counts the returns of history from death to life instead of life to death, his hands in multiple registers, thieving time into time marking the return of the dispossessed, the refugee and the immigrant. I am with Boedi! " - Raj
The quote above references Fred Moten and Stefano Harney's all capitals quote “THE ONLY POSSIBLE RELATIONSHIP TO THE UNIVERSITY TODAY IS A CRIMINAL ONE.” from their important book, 'The Undercommons'.
See https://www.helwasergallery.com/exhibitions/boedi-widjaja-declaration-of/
See also http://www.woundsthatbind.com/2019/11/exhibition-review-boedi-widjaja.html
Caption: Image above: Installation view at Helwaser Gallery, New York. Boedi Widjaja: Declaration of
Courtesy of Helwaser Gallery. © Boedi Widjaja. Photography: Phoebe d'Heurle
#cutsoverart #drenchedco #soakedspace #HelwaserGallery #BoediWidjaja #Declarationof #HelwaserGalleryNewYork #NewYorkart #artNewYork #artinNewYork #artberlin #berlinart #artinberlin #artlondon #londonart #artinlondon #artreview #exhibitionreview #fugitiveanthropology #fugitivemoment fugitivetime #fugitivework #howardzinn #sukarno #suharto
We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.
Exhibition Review - Uri Aran: 'Tenants Like These' at Sadie Coles HQ, London till 16 March 2019.
“Aran's a psychic economy of wordless languages flexing an impression into a vector in any direction."- Drenched Co.
Notes: "Uri Aran is tracing an elusive, unstable movement in his thoughts onto a stable and frozen two-dimensional plane. The canvas is the choreographic setting for these movements occasioned by ideas moving fluidly across the surface of the canvas, like odes to passing sensations, untethered, aloof, barely recognising its/his existence, eschewing legibility and playing for temporality. There are no punctuations, no discernible rhythms, no outlines or distinctions, no attitude or style, all sub text, illusive and intensely private. There is too much freedom in his movements, now here, now gone, now everywhere, building rebuilding hierarchies, hardening and erasing borders, transitioning to new allegiances after another between different cultural contexts, languages and landscapes. Through his paintings, Uri Aran talks to me with the quietest of murmurs about human imperfectability and the allure of the impossible map. A fabulous exhibition of paintings at Sadie Coles! " - Raj
See https://www.sadiecoles.com/artists/3-uri-aran/
See also http://www.woundsthatbind.com/2019/03/exhibition-review-uri-aran-tenants-like.html
Caption: Image above: Installation view, Uri Aran, Tenants Like These, Sadie Coles HQ, London, 31 January - 16 March 2019
Copyright Uri Aran, courtesy Sadie Coles HQ, London Photography: Robert Glowacki
#cutsoverart #drenchedco #soakedspace #SadieColesHQ #UriAran #TenantsLikeThese #SadieColeslondon #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #exhibitionreview #invisibleworld #topographic #categories #classification #paintings #expressionistic #language #orientations #maps #cartography #JorgeLuisBorges #OnExactitudeinScience
We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.
Exhibition Review - Jean-Marie Appriou, Kasper Bosmans, Anna Glantz, Allison Katz, Caitlin Keogh, Rosa Loy, Lin May Saeed: 'Splendor Solis' at The approach, London till 23rd Sept 2018.
“At Splendor Solis, 7 flasks boil and bubble,
into the ancient gravity of the generations."- Drenched Co.
Notes: " In this group exhibition, 7 artists are guided by what W.B. Yeats once called 'the oldest of the aristocracies of thought' and 'the soil where all great art is rooted'. Folk art/lore is here an old map that becomes not as much an index but a way of relating to the world, allowing for crossed boundaries, layered perspectives and beautiful transgressions. The artists unfurl their maps, chart their esoteric affinities and guided by the eponymous manuscript, erupt into alchemical processes of transformation, creation or combination. Myths thread, sensibilities unravel and we are left with unmapped, uneven terrains, hot-wiring a past with a present before breaking through into a rarefied plane. All very intriguing indeed!" - FaSa
See https://theapproach.co.uk/exhibitions/splendor-solis/images/
See also http://www.woundsthatbind.com/2018/09/exhibition-review-jean-marie-appriou.html
Caption: Image above: Installation view 'Splendor Solis' The approach, London 2018.
Courtesy of the artists and The approach, London.
We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.
#cutsoverart #drenchedco #soakedspace #Theapproach #Theapproachgallery #JeanMarieAppriou #KasperBosmans #AnnaGlantz #AllisonKatz #CaitlinKeogh #RosaLoy #LinMaySaeed #SplendorSolis #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #exhibitionreview #reviewart #alchemy #folklore #folkart #wbyeats
Exhibition Review - Adam Hogarth, Clare Mitten, Gabriela Schutz, Martin Ward: 'The Machine Stops' at Danielle Arnaud, London till 24 March 2018.
“At Danielle Arnaud, we tilt into the incoming tide of slow electricity."- Drenched Co.
Notes: " At Danielle Arnaud, I am awash with the thaw in the impatience of light. Meanings and uncanny predictions fall into sequence and overlap. Here forests are gorgeous windmills of mechanical silence. There is sound like thunder, the sound of electricity, tripping into a melodious stand still. Walls of electricity turn into rendered communal drawings and flowers bloom in the seams of a slow current. Four artists, like clots in the simultaneous, have tweaked the knobs and aligned with a 100 year old prediction to insist on a quiet contemplation with things that make meaning. Clare Mitten is awesome!" - JayZee
See http://www.daniellearnaud.com/exhibitions/exhibition-the-machine-stops.html
See also http://www.woundsthatbind.com/2018/03/exhibition-review-adam-hogarth-clare.html
Caption: Image above: Installation view 'The Machine Stops' Danielle Arnaud, London 2018.
Courtesy of the artists and Danielle Arnaud, London. Photograph by Oskar Proctor.
We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.
#cutsoverart #drenchedco #soakedspace #DanielleArnaudGallery #DanielleArnaud #AdamHogarth #ClareMitten #GabrielaSchutz #MartinWard #TheMachineStops #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #exhibitionreview #reviewart #emforster #dystopia #religion #electricity #prediction #windmill #machine #noideashere
Exhibition Review - Jane Bustin, Alice Cattaneo, Leonardo Drew, Felicity Hammond, Keita Miyazaki, Tulio Pinto: 'Combining Materials' at rosenfeld porcini, London till 10th Feb 2017.
“..when all i touch it with is form, I create a world as it isn't.."- Drenched Co.
Notes: " At rosenfeld porcini, we find glimpses of heterotopias, of tiny worlds in which the possibility of a grounded cosmopolitanism might exist, where boundaries overlap and are integrated and socialised, where politics informs and revolutionises. Here we stop relentlessly seeking the sanitised entities that have not conceded any mixed forms and middle positions or give in to intense local loyalties in our political lives. And perhaps for a moment or two, we stop pulling on the whole odd Aristotelian song of bringing together form with matter. In this exhibition we see the power of the gesture, always silent and possibly beyond language, that grounds the geography of these experiments and sustain their operation in social networks beyond the immediately given. We loved loved Keita Miyazaki's bouquets. Fabulous!" - FaSa
See https://rosenfeldporcini.com/exhibitions/38/overview/
See also http://www.woundsthatbind.com/2018/02/exhibition-review-jane-bustin-alice.html
Caption: Image above: Installation view 'Combining Materials' rosenfeld porcini, London 2018.
Courtesy of rosenfeld porcini, London.
We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.
#cutsoverart #drenchedco #soakedspace #rosenfeldporcini #JaneBustin #AliceCattaneo #LeonardoDrew #FelicityHammond #KeitaMiyazaki #TulioPinto #rosenfeldporcinigallery #CombiningMaterials #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #exhibitionreview #reviewart #cosmopolitanism #foucoult #hetertopias #latour #gesture
Exhibition Review - Jonathan Trayte: 'SCHUSSBOOMER' at Castor Projects, London till 27th January 2017.
“In the kingdom of the saccharine,
we spot the rising gleam of a carnival,
and the vicissitudes of its charm."- Drenched Co.
Notes: "Jonathan Trayte's sweet seductions, spoken in glossy paint, natural forms and unnatural ornamentations, along the face of our complex relationship with food, takes a turn in his latest exhibition at Castor Projects. When once all he touched us with was a song of form and a trumpetry of hues, arranging and rearranging the shape of our desires, he now exhorts us with a carnival of every digressive ornamentation and funfair, from the the simple pleasure in a coin's clunk in a slot that turns into a little carnival to the distractions of a rickety landscapes of Planet ZumZee. But how else will you support the weight of the weightless, the slippages in the ideas of beauty that appeals to our fleshy universes? Perhaps he is onto something. Fabulous!" - JayZee
See http://castorprojects.co.uk/schussboomer
See also http://www.woundsthatbind.com/2018/01/exhibition-review-jonathan-trayte.html
Caption: Image above: Installation view Jonathan Trayte Castor Projects, London 2017.
Copyright Jonathan Trayte. Courtesy Castor Projects, London.
We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.
#cutsoverart #drenchedco #soakedspace #CastorLondon #JonathanTrayte #CastorProjects #SCHUSSBOOMER #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #exhibitionreview #artreview #reviewart #foodcoloring #market #alienlandscape #funfair #eyepopping #saccharine #foodpackaging #slotmachines #candycoloured
Exhibition Review - Yoshinori Niwa: 'That Language Sounds Like a Language' at Edel Assanti, London till 21st December 2017.
“Language graduating slowly from language."- Drenched Co.
Notes: "Niwa's performances are the wrench and strain of a line, tracing edges, testing waters, shaking loose a point of view. His is the stress in a twisted wire of words, baffling tongues, fooling limits, exposing boundaries. He leads us to a cliff edge, and asks us to make out the shapes below, arranged in the shape of our confusion, angled into the light of our betrayal. I wanted the wind to snag my breath, to catch my tongue, to lean out, to stumble into Niwa's world but alas I met but a step and wished for more." - JayZee
See https://edelassanti.com/exhibitions/73/cover/
See also http://www.woundsthatbind.com/2017/12/exhibition-review-yoshinori-niwa-that.html
Caption: Image above: Installation view Yoshinori Niwa Edel Assanti, London 2017.
Copyright Yoshinori Niwa. Courtesy Edel Assanti, London.
We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.
#cutsoverart #drenchedco #soakedspace #EdelAssanti #YoshinoriNiwa #EdelAssantigallery #ThatLanguageSoundsLikeaLanguage #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #exhibitionreview #artreview #reviewart #language #bondary #limit #performanceart #artperformance #videoart #artvideo #perimeter #contigent #artjapan #japaneseart #artinjapan
Exhibition Review - 'Zhongguo 2185' at Sadie Coles, London till 04 November 2017.
“Victor Wang traces flat shadows
in fuzzboxes
in contemporary China
and finds a word in a foreign tongue."- Drenched Co.
Notes: "Imagine that you are a brain in a jar. You won't have too many stories of your own. Most would be someone else's, each sewn tightly into a perfect impression of you. You won't know exhaustion just as you can't imagine soaring free or dying. You have no sense of time, not the time measured through disintegrating bodies, as much as you can't fathom the breaking down of lives and their deep neurologies. You can't know love, the touch of another human and the stories of people and their societies and the anxieties that spring from this reservoir. Technology assaults you and fiddle with your personality. Your temporal lobes hum to the beat and play to the shape of narratives that don't see you, has never seen you. There's always a piece missing. And this is where Zhongguo 2185 hangs. It draws attention to you. Its not just Sinofiction." - FaSa
See http://www.sadiecoles.com/other-exhibitions/zhongguo-2185
See also http://www.woundsthatbind.com/2017/10/exhibition-review-zhongguo-2185-at.html
Caption: Image above: Installation view 'Zhongguo 2185' Sadie Coles, London 2017.
Copyright the artists, courtesy Sadie Coles HQ, London. Curated by Victor Wang 王宗孚 Photography: Robert Glowacki
We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.
#cutsoverart #drenchedco #soakedspace #Zhongguo2185 #SadieColesGallery #SadieColesHQ #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #exhibitionreview #artreview #reviewart #TianzhuoChen #TangDixin #YuJi #Nabuqi #LuPingyuan #XuQu #ZhangRuyi #SunXun #LuYang #ChenZhe #LiuCixin #victorwang #artinchina #artchina #chinaart
Exhibition Review - Jeff Elrod at Simon Lee Gallery, London till 21st October 2017.
“With Sparagmos and Synecdoche, Elrod offers up a wreckage in a mediated glow, found off kilter."- Drenched Co.
Notes: "I loved Blade Runner 2049. Did you? Watch it and then go take a spin at Simon Lee's Jeff Elrod exhibition. You'll sense the buzz, the glow and simulated warmth of 'computer monitors' and you'll feel like you have been shoved sideways into time. You will struggle with the illusory space of his increasingly opaque mediated 'screens'and you might draw the parallels between the movie and his paintings. Elrod uses ideas behind Science Fiction to make new thinking possible and communicable and his is more than a complex Instagram filter. Fabulous! " - FaSa
See https://www.simonleegallery.com/exhibitions/119/
See also http://www.woundsthatbind.com/2017/10/exhibition-review-jeff-elrod-at-simon.html
Caption: Image above: Installation view Jeff Elrod Simon Lee Gallery, London 2017.
Image courtesy of artist and Simon Lee Gallery, London Photo credits: Todd-White Art Photography
We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.
#cutsoverart #drenchedco #soakedspace #JeffElrod #SimonLeeGallery #SimonLeeLondon #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #exhibitionreview #artreview #reviewart #marfa #sparagmos #synecdoche #sciencefiction #dreamspace #technology #briangysin #williamsburroughs #selfhynotising #screen #literal #figurative #fragments #tropes
Exhibition Review - Dusadee Huntrakul:'To Dance Is To Be Everywhere' Chan + Hori Contemporary, Singapore till 8th October 2017.
“A turn of the line, like an asymptote, may approach an indent in time."- Drenched Co.
Notes: "Consider the Neck. A narrow connector whose shape and surface may evoke a season, a landscape or an architectural detail. Think of the Neck, pale, scented, a recipient of a thousand kisses or a long slender snake that may suddenly slither up a wall dragging the whole body. Think of its gestural throwing lines, its dynamic volumes and the way its lies about the backbone. Think of the Neck when looking at Dusadee Huntrakul's art and his interest in meanings transfered through objects, gestures and forms. In this exhibition, the Neck is the creamy beacon that invites contemplation through the ages, an albatross full of metaphors slung around it, clinging on to an unwritten head and a trace of meaningness. Dusadee once made a film titled 'My Armpit's my Beer', but I am convinced he is a neck man. Fabulous " - Raj
See https://www.chanhori.com/2017-current#/to-dance-is-to-be-everywhere/
See also http://www.woundsthatbind.com/2017/09/exhibition-review-dusadee-huntrakulto.html
Caption: Image above: Installation view Dusadee Huntrakul Chan + Hori Contemporary, Singapore 2017.
Image courtesy of artist and Chan + Hori Contemporary, Singapore
We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.
#cutsoverart #drenchedco #soakedspace #DusadeeHuntrakul #ChanHoriContemporary #ChanHoriContemporarygallery #ToDanceIsToBeEverywhere #artinsingapore #artsingapore #singaporeanart #artinthailand #thaiart #artthai #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #neck #exhibitionreview #artreview #reviewart #ceramics #drawings #artifacts #Picasso #JoanMiro #MarkManders #asymptote #coleridge #collectivememory #myth #armpit #throwlines #gesture #form #object
Exhibition Review - Anne Samat:'SULTANATE IN THE EYE MONARCHY AT HEART' Richard Koh Fine Art, Kuala Lumpur till 21st August 2017.
“Samat's weaves transcend the world of cloth."- Drenched Co.
Notes: "Anne Samat weaves magical textiles. A patch of her traditional Malaysian 'songket' is the pulsating centre of a large exoskeleton of rakes and chains, and it is sending out thick feelers of thread, like taut twitching muscles, to reign in, to 'hook' into the gallery's whitewashed skin. Samat's works are alive, migrating, melding and becoming. And this is where lies the secret to their charisma - the vertiginous swoop you experience going from the mundane to the celestial. Her songkets are no longer just fit for kings. They are adorned by gods. " - FaSa
See http://rkfineart.com/exhibition/anne-samat-sultanate-in-the-eye-monarchy-at-heart/
See also http://www.woundsthatbind.com/2017/08/exhibition-review-anne-samatsultanate.html
Caption: Image above: Installation view Anne Samat Richard Koh Fine Art, Kuala Lumpur 2017.
Image courtesy of artist and Richard Koh Fine Art, Kuala Lumpur
We take great care not to harm the image in any way. It has not been cropped, altered, montaged or overlaid with text ( only in the separate sections below and above it) or manipulated in any way. Images are always used with supplied captions. And the views expressed here are solely those of the authors in their private capacity and do not in any way represent the views of the said artists or gallery. - Drenched Co.
#cutsoverart #drenchedco #soakedspace #AnneSamat #RichardKohFineArt #RichardKohFineArtgallery #SULTANATEINTHEEYEMONARCHYATHEART #artinmalaysia #artmalaysia #malaysianart #artsingapore #singaporeart #artinsingapore #londonart #artlondon #artinlondon #artberlin #berlinart #artinberlin #artnewyork #newyorkart #artinnewyork #artreview #songket #weaving #traditionaldress #domesticobjects #Richardkoh #goddess
