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    The Lyon Biennale Has Many Big, Beautiful Works—But Too Many Competing Curatorial Ideas

    Rows of tents sheltering migrants and other unhoused people stretch out in the electric blue light beneath Lyon’s bridges and underpasses. Outside the city, the cornfields are bleached by a summer of extreme heat. Conflict, climate catastrophe and the human movement they precipitate touch us all, even in this wealthy French city. Under the curatorial direction of Till Fellrath and Sam Bardaouil, our interconnected vulnerability has become the presiding theme of the 16th edition of the Biennale de Lyon. The show’s theme, “Manifesto of Fragility,” the curators suggest, positions fragility as “a generative form of resistance” and vulnerability as “a foundation for empowerment.”
    The biennial is vast, as is now de rigueur for such shows. It is like an art-world Man v. Food: Do you attempt to consume everything and make yourself ill, or can you pick and choose? (Alas, no one has yet invented a doggy bag for biennial art.) From the central venue—the cavernous Usines Fagor, a former household appliance factory—it spreads across the city’s museums, from the Musée d’art contemporain (MAC) de Lyon to the wonderful, brutalist Lugdunum museum of Roman antiquities.
    Artefacts—many broken, or unfashionable—dating back three millennia are scattered between contemporary works throughout the biennial. The participating artists, living and dead, reflect Fellrath and Bardaouil’s years of immersion in art of the Arab world.
    Biennale de Lyon curators Sam Bardaouil and Till Fellrath. Photo: © Blandine Soulage.
    It’s been a busy year for the curators. In January, they took up a double-headed role as directors of the Hamburger Bahnhof. In March, their passion project, “Beirut and the Golden Sixties”, opened at Berlin’s Gropius Bau. (The show has now moved to Lyon, where it forms part of the Biennale.) April saw the opening of the Venice Biennale, for which they worked with Yasmina Reggad on artist Zineb Sedira’s Silver Lion-award winning French Pavilion installation. And throughout it all, they have been working on the Biennale de Lyon, which should have opened in 2021 but was delayed because of the pandemic.
    Fragility may be the theme, but art-wise this Biennale feels robust—extensive, expansive, expensive, even a little excessive. At Usines Fagor, artists and their work luxuriate in an abundance of space. Eva Fabregas’s biomorphic teats and bulges dangle in fleshy magnificence from the rafters. The Marta Górnicka’s film of a diverse choir “stress testing” the German constitution is broadcast at top volume. Dana Awartani has installed a 20-meter reproduction of the patterned courtyard floor of Aleppo’s Grand Mosque, its bricks made from colored clays.
    Installation view of “Manifesto of Fragility,” Biennale de Lyon 2022, Hans Op de Beeck’s We Were the Last to Stay (2022). © Adagp, Paris, 2022. Photo: Blandine Soulage.
    One whole warehouse is occupied by Hans Op de Beeck’s We Were the Last to Stay, a trailer park complete with river and statue of the Virgin Mary, all sprayed ashen grey, like a contemporary Pompeii. A neighboring warehouse hosts Julian Charrière’s videos of ice scapes and meltwater, flanking a perforated boulder of marble positioned on its own core samples. Both presentations are spectacular, though this stately beauty almost feels obscene.
    There’s a lot of slow-paced video, in which lush panning shots are matched to portentous voice-overs. Ambient music in a minor key washes throughout. It can feel like your emotions are being curated too, or you’re stuck in a sentimental video game.
    Many grand audio-visual works are so caught up in their own beauty that they forget to go anywhere, but a few work brilliantly. Phoebe Boswell’s dwelling (2022) immerses you in a swimming pool with a succession of Black families, lovers, and siblings as they float and play in the brilliant blue. There is a long legacy of trauma in the Black body’s relationship to water. Even today, many Black British adults don’t swim. Boswell’s moving work invites us to share space with people as they explore water as a medium of physical freedom and transformation.
    Installation view of “Manifesto of Fragility,” Biennale de Lyon 2022, Ugo Schiavi, Grafted Memory System (2022). Courtesy of the artist. Photo: © Blandine Soulage.
    Installed in an old chapel, Mali Arun’s three-screen Wunderwelten (2022) weirds up the familiar world of a theme park, using an (infrared?) filter to turn everything colored green to magenta. We follow a young girl through a joyous visit, charting her facial expressions as she reaches a peak of awe and ecstasy on a rollercoaster—in the mode of Bernini’s St Teresa, complete with churchy music. Arun’s celebration of child-like wonder links entertainment to religious experience, suggesting the former now occupies the cultural space once held by the latter.
    Planning for the Biennale had already started when, on 4 August 2020, an explosion tore through the Port of Beirut. For “Beirut and the Golden Sixties,” showing here at MAC Lyon, Fellrath and Bardaouil commissioned a devastating intervention from Joana Hadjithomas and Khalil Joreige.
    After many galleries of captivating historic work—psychedelic surrealism from Georges Doche and Juliana Seraphim, sexy sculptures by Dorothy Salhab Kazemi, coded embroidery by Nicolas Moufarrege included—we step into a ring of screens. Each replays two minutes of CCTV footage taken from a different vantage point in Beirut’s Sursock Museum as the blast rips through the galleries, shatters the stained glass on the facade and knocks a bride off her feet in the sculpture garden.
    The piece is positioned for maximum impact, after you’ve emotionally invested in the work of so many mid-century Lebanese artists. It’s like being given a puppy then learning the rest of the litter is dead.
    Installation view of “Beirut and the Golden Sixties,” at Martin Gropius Bau. Photo: © Luca Girardini.
    “Beirut and the Golden Sixties” is a great exhibition, but an odd change of pace; it is pedagogic, archival, historically immersed. It’s a proper institutional show in the midst of Biennale flurry.
    On the floor above, a conceptual display uses the life of Louise Brunet, a 19th-century silk weaver and workers’ rights activist from Lyon who ended up in Lebanon, as a structure through which to explore health, poverty, ethnicity, gender and sexuality. There is some good work here—canvases by the late Semiha Berksoy, a creepy giant asparagus sculpture by Hannah Levy, paintings by Salman Toor, palpable photographs of dead octopuses by Richard Learoyd—but too many competing ideas at a curatorial level.
    The Beirut explosion also bisects an inventive video installation by Rémie Akl, who greets us while she dresses for a party, and invites us to follow her across a series of screens. Following the blast, the work turns into a quest to hack into a locked iPhone. The inaccessible device illustrates the disruption caused by the loss of contemporary infrastructure, but also performs as a metaphor for a corrupt system.
    Installation view of “Manifesto of Fragility,” Biennale de Lyon 2022, Gómez-Egaña Virgo, (2022). Courtesy of the artist and Zilberman Gallery. Photo: © Blaise Adilon.
    Insecurity is given symbolic form in Pedro Gómez-Egaña’s Virgo (2022), an apartment-like structure with furnishings set on mobile tracks, which are slowly propelled through a succession of rooms by performers. And in Lucy McRae’s elegant laboratory-set film Institute of Isolation (2016) the artist goes through lonely training and testing as though preparing for a solo space mission, her experiments in isolation a poignant precursor to the pandemic.
    Among the breakout stars of this edition are Giulia Andreani, whose uncanny tableaux of forgotten and fantastical women’s histories are painted in Payne’s grey, and Zhang Yungao, who also paints in a reduced palette but on felt, which gives a nostalgic fuzziness to his exploration of BDSM iconography. The Biennale is likely to be transformative for Sylvie Selig, now in her 80s, who brings a fully-formed universe of weird humanoid figures assembled from seedpods, bones and other detritus, as well as suites of narrative embroideries and paintings.
    Fellrath and Bardaouil are storytellers. For Lyon, they have, with a few notable exceptions, favored art that delivers narrative and drama—big emotion, grand gestures. This is Biennale as balm rather than irritant, a woozily soundtracked counterbalance to the prevailing feel-bad tendency, all pearl and very little grit.
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    In Pictures: See How a New Show at LACMA Traces the Evolution of Modern Korean Art

    When we think of Modern art, the innovations of Picasso, Duchamp, Kandinsky, and the Abstract Expressionists are what tend to spring most readily to mind. Now, the Los Angeles County Museum of Art is looking to expand our Western-centric horizons with “The Space Between: The Modern in Korean Art,” a first-of-its-kind survey of art production in Korea between 1897 and 1965.
    With over 130 works, the exhibition explores a significant period of upheaval in the country’s history from the Korean Empire (1897-1910), through the Japanese colonial period up to the struggles and aftermath of the Korean War (1950-1953). 
    At this time, the country was newly exposed to foreign cultures and many of the works, which have never before been exhibited outside of Korea, examine how both European and American influences played out there.
    As Seoul plays an increasingly pivotal role in the Asian and international art scenes of today, the show is a chance to see how Korean artists first began breaking with tradition to inform the beginnings of Korean contemporary art.
    “The Space Between” runs until February 19, 2023. See artworks from the exhibition below. 
    Kim Whanki, Jars and Women (1951). Photo: © Whanki Foundation-Whanki Museum.
    Shin Nakkyun, Photograph of Choi Seunghui (1930). Image courtesy of Jipyong Collection, Research Institute for the Visual Language of Korea, Seoul.
    Kim Kwan-ho, Sunset (1916). Photo courtesy of The University Art Museum, Tokyo University of the Arts.
    John Pai, Untitled (1963). Photo courtesy of John Pai.
    Park Seo-bo, Primordials No. 1-62 (1962). Photo courtesy of The National Museum of Modern and Contemporary Art, Korea.
    Han Youngsoo, Near Savoy Hotel, Myeongdong, Seoul (1956). Photo courtesy of LACMA.
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    “El Suceso” by David de la Mano in Stigliano, Italy

    David de la Mano is back with hi new work “El Suceso” created by bas-relief carving technique. “El Suceso” is a part of Appartengo, an international art festival in Stigliano, Italy.“Reality can be a wall to our understanding. “El Suceso” deals with the perception of the everyday, the near and the far, what we see and what we don’t see. We can guess “El suceso” but in the end, as it happens with the really important things, we don’t really see it, we can intuit it “.David de la Mano is a Spanish contemporary artist best known for his stunning murals often depicting silhouettes, trees and other monochromatic imagery. de la Mano is a versatile artist who excels from drawing to sculpture. The artist experiments with different techniques among which acrylics, watercolours, ink and collage.Take a look below for more photos of David de la Mano’s masterpiece.Photo credits: Pietro Miccuci More

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    “Cannot” by Biancoshock in Lodi, Italy

    Biancoshock recently worked on a new project in Lodi, Italy. Entitled “Cannot”, this installation is a part of the artist’s ‘Nice To Meet You’ Series.Biancoshock uses elements that are easily recognizable as belonging to Western pop culture. His works can be presented as performances in which he is the protagonist of interventions on the street and in which passers-by actively participate, but also as interventions carried out directly on elements of street furniture. Soft toys, puppets, games, famous brands, objects that make up the home furnishings and everyday life are decontextualized and thanks to this conceptual and linguistic operation become other, coming to convey a message to the user through irony and provocation.His artistic project began in 2004 after a previous ten-year experience in the Graffiti world. This background spontaneously led him to live the city as a stage for his artistic actions.From the beginning, the artist expresses himself mainly through independent urban installations, different from each other in terms of technique, materials and subjects, but united by the same intent: to offer a starting point for reflection – sometimes ironically, other times provocatively – to the passer-by, trying to emotionally disturb his daily routine.Check out below for more photos of “Cannot”. More

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    Here’s a Look Inside New York’s New Immersive Gustav Klimt Attraction

    This week marks the debut of a glittering new attraction for New York City: the Hall des Lumières.
    Located in the stately, landmarked Beaux-Arts headquarters of the former Emigrant Savings Bank near City Hall, it arrives courtesy of Culturespaces, one of the major forces that propelled “Immersive Van Gogh” to international sensation status last year via its L’Atelier des Lumières in Paris. The latter’s immersive Van Gogh lightshow featured as a date spot in the Netflix hit Emily in Paris.
    To recreate that date-night magic, Culturespaces is betting big on Viennese painter Gustav Klimt. Now, New Yorkers don’t have to trek across the sea to the Belvedere museum in Vienna to see dorm-room poster favorite The Kiss. Instead, they can see it animated and projected at immense scale across the palatial insides of the Hall des Lumières for a show titled “Immersive Klimt: Gold in Motion,” alongside other famed Klimt works like the Beethoven Frieze and Portrait of Adele Bloch-Bauer (languid animations of works by fellow Viennese Succesionist Egon Schiele also make a cameo in the show).
    If that’s not enough immersive entertainment for you, “Gold in Motion” runs on a loop with two other shows: one is an animated show dedicated to the rich patters of artist and architect Friedensreich Hundertwasser (1928–2000), carrying on the Viennese theme; the other is “Five Movements: Contemporary Creation,” a 10-minute experience featuring digitally augmented dance performances in five different styles from the technology studio Nohlab.
    Be sure also to head down to the basement of the bank, where a new-media gallery has been nested within the Emmigrant Savings Banks’s giant safe. A mirrored chamber within which plays a piece made exclusively for Culturespaces by François Vautier, an ominous, spacey digital animation.
    To give a sense of what to expect at the Hall des Lumières, check out the photos below.
    The Hall des Lumières, located in the former Emigrant Industrial Savings Bank. Photo by Ben Davis.
    Installation view of ‘Gustav Klimt: Gold in Motion’ at the new Hall des Lumières in New York. Photo by Ben Davis.
    Installation view of ‘Gustav Klimt: Gold in Motion’ at the new Hall des Lumières in New York. Photo by Ben Davis.
    Installation view of ‘Gustav Klimt: Gold in Motion’ at the new Hall des Lumières in New York. Photo by Ben Davis.
    Installation view of ‘Gustav Klimt: Gold in Motion’ at the new Hall des Lumières in New York. Photo by Ben Davis.
    Installation view of ‘Gustav Klimt: Gold in Motion’ at the new Hall des Lumières in New York. Photo by Ben Davis.
    Installation view of ‘Gustav Klimt: Gold in Motion’ at the new Hall des Lumières in New York. Photo by Ben Davis.
    Installation view of ‘Gustav Klimt: Gold in Motion’ at the new Hall des Lumières in New York. Photo by Ben Davis.
    Installation view of ‘Gustav Klimt: Gold in Motion’ at the new Hall des Lumières in New York. Photo by Ben Davis.
    Installation view of ‘Gustav Klimt: Gold in Motion’ at the new Hall des Lumières in New York. Photo by Ben Davis.
    Installation view of ‘Gustav Klimt: Gold in Motion’ at the new Hall des Lumières in New York. Photo by Ben Davis.
    Installation view of ‘Immersive Klimt: Gold in Motion’ at the new Hall des Lumières in New York. Photo by Ben Davis.
    Installation view of ‘Gustav Klimt: Gold in Motion’ at the new Hall des Lumières in New York. Photo by Ben Davis.
    Installation view of ‘Gustav Klimt: Gold in Motion’ at the new Hall des Lumières in New York. Photo by Ben Davis.
    Installation view of ‘Gustav Klimt: Gold in Motion’ at the new Hall des Lumières in New York. Photo by Ben Davis.
    Installation view of ‘Friedensreich Hundertwasser: In the Wake of the Vienna Secession’ at the Hall des Lumières. Photo by Ben Davis.
    Installation view of ‘Friedensreich Hundertwasser: In the Wake of the Vienna Secession’ at the Hall des Lumières. Photo by Ben Davis.
    Installation view of ‘Friedensreich Hundertwasser: In the Wake of the Vienna Secession’ at the Hall des Lumières. Photo by Ben Davis.
    Installation view of ‘Friedensreich Hundertwasser: In the Wake of the Vienna Secession’ at the Hall des Lumières. Photo by Ben Davis.
    Installation view of ‘Friedensreich Hundertwasser: In the Wake of the Vienna Secession’ at the Hall des Lumières. Photo by Ben Davis.
    ‘5 Movements: Contemporary Creation’ at the Hall des Lumières. Photo by Ben Davis.
    ‘5 Movements: Contemporary Creation’ at the Hall des Lumières. Photo by Ben Davis.
    ‘5 Movements: Contemporary Creation’ at the Hall des Lumières. Photo by Ben Davis.
    ‘5 Movements: Contemporary Creation’ at the Hall des Lumières. Photo by Ben Davis.
    ‘5 Movements: Contemporary Creation’ at the Hall des Lumières. Photo by Ben Davis.
    The entrance to the underground gallery at the Hall des Lumières, in the old bank vault. Photo by Ben Davis.
    François Vautier’s Recoding Entropia at the Hall des Lumières. Photo by Ben Davis.
    The giftshop at the Hall des Lumières. Photo by Ben Davis.
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    Here Are 4 Shows Not to Miss During Berlin Art Week

    There is such a wide array of openings, tours, and events packed into the annual Berlin Art Week—which launches today, September 14—that it can feel equally exciting and overwhelming.
    Where should art lovers, collectors, or the curious curator spend their energy? It may be impossible to get to everything on offer in the Germany art capital this week, but as you build up your itinerary, be sure not to skip these exhibitions and events.

    Ian Cheng at LAS
    Ian Cheng, Life After BOB: The Chalice Study (still) (2021), real-time live animation. Commissioned by LAS (Light Art Space), The Shed and Luma Arles. Courtesy of the artist.
    The private institution LAS (Light Art Space) has a reputation for putting on extremely ambitious commissions, and Life After Bob is no exception. American artist Ian Cheng, who is an authoritative artistic voice on digital art, is known for his live simulations that ask profound questions about the relationship between technology and humanity. His newest work is on view at the formidably grand, concrete halls of Halle am Berghain. The project, which has been years in the making, explores artificial intelligence and free will through an interactive, shifting cinematic experience, transformed by an algorithmic feed. The narrative will culminate in the possibility of leaving with your own personalized NFT.

    Simone Forti at Neue Nationalgalerie
    Simone Forti. Huddle (1961), performance at Fondazione ICA Milano. Photo: The Museum of Modern Art, New York. Committee on Media and Performance Art Funds. © 2019 The Museum of Modern Art, New York.
    On loan from MoMa for a short time only is a course-changing work by Simone Forti. The Neue Nationalgalerie, a Modernist glass jewel box of a museum designed by Mies van der Rohe, is a statement location for this very soft and intimate performance piece that dates back to 1961. Curator Klaus Biesenbach (a MoMA alumnus) described Forti as “one of the most important and influential artists that you might not have heard about in Germany.” This is a terrible truth, given that the 87-year-old Jewish-Italian artist fled her home in Florence as a young girl to escape antisemitic persecution. Forti is credited with initiating minimalism and conceptual art as we know it today, and for fans of contemporary performance work, this is educational and essential viewing. Huddle is a part of her “Dance Constructions” series.
    The 15-minute performance will take place from today through Sunday, September 18, every half an hour in the main gallery of the museum. On Friday evening, September 16, Miles Greenberg, a young performance artist who is rapidly gaining major acclaim in the art world, will offer an homage to Forti’s work. More homages are planned for the coming weeks.

    Marianna Simnett at Société
    Marianna Simnett, OGRESS. Courtesy of the artist and Societe.
    Of all the millennial artists growing in prominence at the moment, it is always exciting to see what U.K. artist Marianna Simnett is going to do next; from chapter to chapter of her career, her work is in an entrancing state of metamorphosis. Simnett’s surreal, unsettling world-building probes strange fundaments of the human psyche in a practice that rangers from film, to photography, sculpture and watercolor—and, if you are lucky, a flute performance.
    On the heels of her conversation-sparking presentation of a three-channel video installation at the Venice Biennale—where viewers lounged on a 75-foot rat tail—Simnett is opening her first solo show at gallery Societe, on Thursday, September 15. “Ogress” will consider the eponymous, shape-shifting character of legend. Simnett will also release 100 NFTs on October 6 that multiply an A.I.-generated Athena, another mythological character that transforms across this show.

    Jon Rafman at Schinkel Pavillon
    Jon Rafman Punctured Sky (2021). Video still. Courtesy of the artist and Spruth Magers.
    As a post-internet pioneer, Rafman’s works have never been an easy viewing experience, especially given the artist’s almost anthropological deep dive into the unsettling underworlds of online subcultures, and his ambitious use of virtual production tools. He is presenting two new works at Schinkel Pavillon: Minor Daemon, Vol. 1 (2021) is a dystopian film looking at the intersecting lives of two male characters; Punctured Sky (2021) meanders into the internet’s past and the dark web as a gamer attempts to find a long-lost computer game. Curated by Nina Pohl, the exhibition at Schinkel is presented alongside a solo show by Anna Uddenberg; both shows mark the 15th anniversary of the Berlin institution. Rafman is also presenting a new solo show at gallery Sprüth Magers, Counterfeit Poast, that delves into machine learning and fragmented individuality.
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    How Do You Authenticate Your Martin Whatson ? Contact MW Archive

    Martin Whatson Archive is now up and running! MW Archive is the handling service on behalf of Martin Whatson, it offers artwork authentication services for anyone interested in obtaining a Martin Whatson artwork and for those who have already purchased an MW artwork through the secondary market. The platform determines whether Martin Whatson was responsible for creating a particular piece of artwork through their database.Certificate Of Authentication (COA) are issued by MW Archive once the pieces are proved to be original. The process helps prevent confusion, fraud and misattribution. MW Archive only authenticates originals, sculptures or objects that is made as actual artworks.The website helps verify your transaction, prevents others from claiming ownership, and filters out fakes. It also facilitates any upcoming sales you would like to make.To start the process of authenticating your Martin Whatson piece,  you have to fill in an online form on the MW Archive website.  Fill in the forms with as much clear detail as you can — artwork’s edition number, dimensions, purchase date and price as well as its history, provenance and information on any previous owners. MW Archive also assists in the change of ownership so you can register yourself as the new owner.Looking to authenticate your MW artwork? You can check all their services and fill in your authentication requests here.About the ArtistNorweigan street artists Martin Whatson makes public murals, paintings on canvas, prints, and sculptures that unite detailed grayscale compositions with colorful scribbles—his muted pictures of dancers, animals, and iconic art historical figures feature patches of explosive, abstract graffiti.The juxtapositions create a significant sense of layering and opposing worlds within each work. Whatson began making art when he participated in Oslo’s graffiti scene in the 1990s. He drew inspiration from the city’s continuously changing landscape as he developed his own energetic aesthetic. Whatson has exhibited in Oslo, New York, Paris, London, Tokyo, Berlin, and beyond. More

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    In Pictures: A Texas Exhibition Shines a Light on Paintings of Women, by Women

    Through September 25, the Modern Art Museum of Fort Worth presents 46 international female-identifying artists who focus on female subject matter in their works. The exhibition, titled “Women Painting Women,” brings together 60 portraits spanning the late 1960s to the present, recognizing “female perspectives that have been underrepresented in the history of postwar figuration,” according to the museum.
    “Women Painting Women” approaches these aims over four thematic sections. “The Body” considers the full spectrum of figuration, “from unidealized to fantasized nudes,” the museum states in a press release. Works by stars like Mickalene Thomas and Alice Neel appear here.
    “Nature Personified” explores appearances of mythological archetypes, like priestesses and goddesses—and their metaphysical powers—through the work of forces of nature like Tracy Emin.
    Faith Ringgold and Amy Sherald have work in the section “Color As Portrait,” which “accounts for the exaggerated or dramatic use of color and form to convey content about female identity, including race, gender, and archetypes.”
    In “Selfhood,” Elizabeth Peyton, Marlene Dumas, and more examine how psychology manifests in the physical form.
    The show centers around painting—a medium traditionally associated with the privileged male artists who have dominated the art historical canon until recently. “The pivotal narrative in ‘Women Painting Women’ is how these artists use the conventional portrait of a woman as a catalyst to tell another story outside of male interpretations of the female body,” chief curator Andrea Karnes said in a statement. “They conceive new ways to activate and elaborate on the portrayal of women.”
    “Replete with complexities, realness, abjection, beauty, complications, everydayness, pain, and pleasure, the portraits in this exhibition connect to all kinds of women,” Karnes adds, “and they make way for women artists to share the stage with their male counterparts in defining the female figure.”
    See works from the exhibition below.
    Arpita Singh, My Mother (1993), oil on canvas, from the collection of Sharad and Mahinder Tak. Photo: © Arpita Singh, courtesy Kiran Nadar Museum of Art and Talwar Gallery.
    Hayv Kahraman, The Tower (2019), oil on linen. Photo: © Hayv Kahraman, courtesy of the artist and Jack Shainman Gallery, New York.

    Hope Gangloff, Queen Jane Approximately (2011), acrylic on canvas. Collection of Alturas Foundation, San Antonio, Texas. Photo: © Hope Gangloff, Courtesy of the Artist and Susan Inglett Gallery, NYC.
    Emma Amos, Three Figures (1967), oil on canvas. The John and Susan Horseman Collection. Photo: © Emma Amos, Courtesy Ryan Lee Gallery, New York.
    Somaya Critchlow, Untitled (Pink Hair) (2019), oil on linen. Isabella Wolfson Townsley Collection, London. Photo: © Somaya Critchlow, image courtesy the artist and Maximillian William, London.
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