Tim Steer

  • View of “Practice Makes Perfect,” 2021–22. Photo: Harry Meadley.
    picks December 03, 2021

    Rosa-Johan Uddoh

    For this show’s largest work, a billboard-sized collage titled Breaking Point, 2021, Rosa-Johan Uddoh cut different Balthazar figures out of the background of one hundred and fifty traditional European “adoration” paintings from as early as the eighth century and arranged them in a marching scene in solidarity with each other. In another collage, Get up mate, we’re going to the protest, 2021, the artist presents a kind of alternative nativity scene in which multiple Balthazars wake the other two biblical magi, Melchior and Caspar, to join them in a protest march.

    “Practice Makes Perfect,” Uddoh’s

  • Richard Sides, Untitled, 2019, site-specific mixed-media sculpture, dimensions variable.
    picks January 27, 2020

    Richard Sides

    In “Dwelling,” Richard Sides plays with both meanings of the exhibition title as home and thinking. In the venue’s main room is a wooden pavilion, all internal surface and covered with untreated tongue-and-groove paneling. Inside is a newly commissioned hour-long video, Midnight in a Perfect World, 2019, which stages two sets of conversations in a dark comic parody of self-helpy jargon and “alternative” living practices. One character, awake for fourteen days, recounts his escape from a cult-like “parasite pod” community in which the leader, Mark, “introduced us to a sort of vicarious . . .