reviews

Mike Nelson, A studio apparatus for Camden Arts Centre; an introductory structure: Introduction, a lexicon of phenomena and information association, futur-objectics, (in three sections), mysterious island*, or Temporary monument, 1998, mixed media. Installation view, 2010. Photo: Andy Keate.

Simon Starling

Mike Nelson, A studio apparatus for Camden Arts Centre; an introductory structure: Introduction, a lexicon of phenomena and information association, futur-objectics, (in three sections), mysterious island*, or Temporary monument, 1998, mixed media. Installation view, 2010. Photo: Andy Keate.

FOUR TIMES SINCE 2005, Camden Arts Centre has crossed its fingers and handed the curatorial reins to an artist. After Tacita Dean, Steven Claydon, and Paulina Olowska, most recently it was Simon Starling’s turn, and it was notable and apposite that this marked the first occasion when the neophyte curator’s name surged above his or her chosen title, because “Never the Same River (Possible Futures, Probable Pasts)”—mounted almost exactly a decade after Starling’s own solo show here—was especially consonant with its selector’s artistic practice: that of resituating and reanimating objects that have already lived one life.

This was a different kind of exhibition from its predecessors—and their own likely inspiration, Richard Wentworth’s brilliantly idiosyncratic omnium-gatherum “Thinking Aloud,” which toured to this venue in 1999—in another respect, too. Whereas

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