This time, went through the rest of the ground floor.
Paulina Olowska's paintings were the clear highlight. It was the joyous splash of colour of "The Lepidopterist" that first caught my eye and the attractive-in-every-way triptych of "Mysteria" which was most directly in my strike zone, but it ended up being the less obvious but beautiful and deep "The Painter" with which I spent the most time, and which I find lingering with me this evening.
I also liked Pascale Marthine Tayou's "Coloured Stones" (2015), referencing social unrest, Shilpa Gupta's black-in-darkness microphone sculpture and sound installation (2012-15) which you could maybe say takes some shortcuts to the sense of immensity and near-sublimity that say Anish Kapoor often achieves but is effective anyway, and David Altmejd's "Mother 1 (Relatives)" (2013), which wins the prize for best curatorial decision, confronting one in all its uncanny, emerging-from-the-subconscious China Mieville-esque weirdness and glory suspended from the ceiling immediately as you turn the corner from Gupta's untitled, echoing piece.
(first visit)
Paulina Olowska's paintings were the clear highlight. It was the joyous splash of colour of "The Lepidopterist" that first caught my eye and the attractive-in-every-way triptych of "Mysteria" which was most directly in my strike zone, but it ended up being the less obvious but beautiful and deep "The Painter" with which I spent the most time, and which I find lingering with me this evening.
I also liked Pascale Marthine Tayou's "Coloured Stones" (2015), referencing social unrest, Shilpa Gupta's black-in-darkness microphone sculpture and sound installation (2012-15) which you could maybe say takes some shortcuts to the sense of immensity and near-sublimity that say Anish Kapoor often achieves but is effective anyway, and David Altmejd's "Mother 1 (Relatives)" (2013), which wins the prize for best curatorial decision, confronting one in all its uncanny, emerging-from-the-subconscious China Mieville-esque weirdness and glory suspended from the ceiling immediately as you turn the corner from Gupta's untitled, echoing piece.
(first visit)
