“EVERYTHING BROKEN DOWN”—the name of a gaggle display curated by way of Ryan Gander—does no longer equate to the entirety damaged aside. The incorporated artists to find excitement in methods and constructions that don’t serve as as they will have to or would possibly. Gander consolidates their paintings as a statement on and response to the disasters of state management, whilst encouraging us to dismantle issues as a way of scrutiny.
Ghislaine Leung’s Public Sculpture, 2018, bisects the exhibition house with a protracted path of miniaturized home structure and home equipment of plastic play units, whilst Holly Hendry units up every other axis with the precarious assemblage Copycat, 2022. Alongside the again wall, Leung’s neon signal Portraits, 2021, spells out its name, regardless that no accompanying symbol is to be discovered. Somewhere else, Lawrence Weiner’s WHERE IT SEEMS AS IT IS WHERESOEVER HOWSOEVER WHATSOEVER PENDING, 2012, deconstructs language into an workout in natural semiotics.
“EVERYTHING BROKEN DOWN” undermines any lingering sense of British exceptionalism with a panoply of visible and semantic references that stretch past geographical regions (from the black hoodie and earphones, framed in the back of glass, in Prem Sahib’s Voices I, 2015 and to Robbie Campbell’s nantwich street, 2019, through which the artist lines the institutions on a stretch of street close to his circle of relatives house 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” achieve development issues up anew as a happy chorus.
