ILYA KABAKOV is arguably the paradigmatic installation artist, known above all for his theorization of the immersive “total installation,” and its execution in dozens of large-scale works made since the mid-1980s (after 1988 usually in collaboration with his partner and subsequent wife, Emilia). Yet this retrospective, “Not Everyone Will Be Taken into the Future,” was unfortunately not London’s long-awaited opportunity to experience an overview of the Soviet-born artists’ melancholy-utopian otherworlds. Instead, it rebranded them as painters, and not very good ones at that. As a result, the

This two-part exhibition took place in both of Thomas Dane Gallery’s spaces: In one presentation, titled “Colour on Fire,” Phillip King showed two new polychrome sculptures; in the other, titled “Ceramics 1995–2017,” he displayed thirteen large clay objects. Together, the works showed him continuing to expand the notion of sculpture-in-the-round by exploring materials and inventing forms. Colour on Fire, 2017, is a freestanding, four-part work constructed from painted sheets of polyurethane foam. Two rectilinear elements—in pink and green, respectively, both riddled with cylindrical holes

Maja Čule’s new video Mouth, 2017, is what a nature documentary might be like if made with a mumblecore aesthetic. Men in outdoor gear roam through a forest holding big sticks, shuffle around a muddy lake, and cross terrain thickly covered in decaying autumn leaves. One howls to the sky. Another scans a man’s back with his phone, zooming in on what appears to be a tick bite. At night they stalk animals and wrestle with each other—at one point I heard a pig or boar grunt, but it was too dark to see what’s happening. The soundtrack is ambient: Sometimes we hear their voices or the camera