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‘I Served the King of England’ (Delfina Foundation) reviewed by Julia Secklehner


‘I Served the King of England’ at Delfina Foundation was intriguingly described as an artistic exploration ‘of the artist’s persona, individuality, role-play and alter ego’. In fact, the ‘live exhibition’ resembled a kind of cabaret, comprising short-film screenings, live music, artistic performances and a mock talk-show with the fictional character Rose Pantopon, played by Julie…

Julia Secklehner | February 25, 2016
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Exhibition: ‘Recount Me Always Anew’ reviewed by Julia Secklehner


Entering the front room of the space, we step back in time and place to a not-too-distant communist past: there’s a shopfront, framed by mostly empty shelves, save for big jars of pickled cabbage and smoked sausages, and a series of stacked up postcards announcing the exhibition. The facilities for a shop are there (it’s an…

Julia Secklehner | February 8, 2016
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‘Mikyta Export Import I commodification’ at DIVUS Gallery, reviewed by Julia Secklehner


‘Commodification is the transformation of goods and services, as well as ideas or other entities that normally may not be considered goods, into a commodity.’ This explanation introduces us to Mikyta’s current exhibition at Divus’s small gallery space in Deptford. The exhibition comprises twenty works by the artist, some lone-standing and some part of a…

Julia Secklehner | February 3, 2016
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Exhibition: UK/RAINE at the Saatchi Gallery, reviewed by Julia Secklehner


UK/RAINE at Saatchi Gallery is the result of a competition for young artists working or born in the Ukraine or the UK, divided into five categories: Installation, New Media, Painting, Sculpture and Street Art. While the guidelines for entry seem rigorously structured, the exhibition itself luckily isn’t. Over five rooms on the gallery’s ground floor,…

Julia Secklehner | December 9, 2015
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Jakub Španhel’s ‘Sacred and Profane’ at Art Galleries Europe, reviewed by Julia Secklehner


Sacred and Profane is Czech artist Jakub Španhel’s first solo exhibition in the UK, organised by Frameless Gallery, in whose low space Španhel’s paintings reach almost from floor to ceiling. Their dark,  bold colours contrast with the light interior – yet, the more we find out about Španhel’s work, the more we feel it actually…

Julia Secklehner | October 12, 2015
Cristian Luchian, 'Living in Between'.

The London Salon of Romanian Art, reviewed by Camelia Ciobanu

This September, the ICR is hosting ‘The London Salon of Romanian Art’, as part of a new permanent programme. It’s different from previous art displays:  the five names on show –  Florin Ungureanu, Cristian Luchian, Monica Madas, Ioana Pioaru and Viniciu Les – are young Romanians coming not from Romania but living and working in…

Camelia Ciobanu | September 25, 2015
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Joanna Rajkowska’s ‘Painkillers’ at l’étrangère Gallery, Shoreditch, reviewed by Julia Secklehner


L’étrangère Gallery in Shoreditch always puts on interesting shows, and Joanna Rajkowska’s Painkillers is no exception. On entering the exhibition space, we’re confronted with an entirely monochrome room: black flooring, white walls, black metal pedestals – and white artworks. The minimalist curation is attractive, yet somewhat confusing at first sight: in the middle of the…

Julia Secklehner | September 25, 2015
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Diana Buzoianu’s ‘Urban Indispensable’ at 54 the Gallery, reviewed by Jo Varney


Since its commercial introduction in 1839, photography has been a medium caught between the two poles of ‘art’ and ‘science’. While the images created with objects, people or scenes placed before a lens were once spoken of as imprinted by nature itself  – and thus  free from the frail human hand prone to error –…

Jo Varney | July 23, 2015
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Virgil Scripcariu: The Secret Soul of Bronze, reviewed by Judith Fagelson

Walking into the Romanian Cultural Institute in Belgrave Square, you’re currently confronted with a series of bronze sculptures. They’re not big – the tallest must be about two or three feet high – and they’re not particularly grandiose either. With their featureless faces, plump, geometric bodies and round, oversized heads, they resemble prehistoric figurines. They…

Judith Fagelson | May 29, 2015
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‘The New East’ at cueB Gallery, reviewed by Julia Secklehner

One of the special things about entering cueB Gallery in Brockley is that you pass through a colourful café bar directly to the gallery located at the back. It’s a nice transition between dimmed light / funky decoration and the clean white gallery space, which comprises only one room. As it isn’t separate from the…

Julia Secklehner | May 5, 2015