London

Lindsay Seers

Matt's Gallery

The third and final film in Lindsay Seers’s elaborate installation, “It has to be this way,” 2009, shows art critic Michael Newman intelligently critiquing the work itself, discussing the connection between memory and technology and thus memory’s inherently prosthetic quality. It’s very good stuff; so what’s left for a reviewer to do? Viewers of the three DVD works that made up the exhibition could only conclude that Seers is so savvy about her art’s theoretical underpinnings that she virtually hands us every critical or historical comment to be made about it; it feels intellectually self-conscious almost to the point of paranoia. The opening film, which introduces the complicated story of the artist’s missing sister, Christine, is projected on two circular screens—like a pair of giant eyes endlessly and paranoically focused upon themselves.

Christine’s is an engrossing tale; the first two

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