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“EVERYTHING BROKEN DOWN”—the title of a bunch present curated by Ryan Gander—doesn’t equate to the whole lot damaged aside. The included artists discover pleasure in methods and constructions that don’t perform as they need to or would possibly. Gander consolidates their work as a commentary on and response to the failures of state management, whereas encouraging us to dismantle issues as a way of scrutiny.
Ghislaine Leung’s Public Sculpture, 2018, bisects the exhibition area with a protracted path of miniaturized home structure and home equipment of plastic play units, whereas Holly Hendry units up one other axis with the precarious assemblage Copycat, 2022. Alongside the again wall, Leung’s neon signal Portraits, 2021, spells out its title, although no accompanying picture is to be discovered. Elsewhere, Lawrence Weiner’s WHERE IT SEEMS AS IT IS WHERESOEVER HOWSOEVER WHATSOEVER PENDING, 2012, deconstructs language into an train in pure semiotics.
“EVERYTHING BROKEN DOWN” undermines any lingering sense of British exceptionalism with a panoply of visible and semantic references that stretch past nation-states (from the black hoodie and earphones, framed behind glass, in Prem Sahib’s Voices I, 2015 and to Robbie Campbell’s nantwich street, 2019, during which the artist traces the institutions on a stretch of street close to his household residence in Crewe, England, braiding each Papa John’s and Polish grocery store into a brand new narrative). Taken altogether, the works in “EVERYTHING BROKEN DOWN” reach constructing issues up anew as a joyful chorus.
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