Curated by Sue-an van der Zijpp

What form should portraiture take in the twenty-first century? As this show of thirty recent works by Marc Quinn ought to demonstrate, the human form is multifariously definable: Bronzes cast from chunks of animal meat have us as raw corporeality waiting for the slab; in his “DNA Portraits,” the artist schematizes identity into bacterial colonies in agar jelly using samples of human genomes; white marble representations of the physically handicapped challenge traditional conceptions of heroism and beauty. The last’s ironic interplay with damaged classical sculptures will no doubt be explored by van der Zijpp and critic Rod Mengham in their catalogue essays. It is perhaps fortunate, though, that there will likely be no one around in several millennia to ponder Quinn’s brand-new bronzes—one of which is due to be unveiled in this show—of Kate Moss in yoga poses.

— Martin Herbert