Berlin

Ryan Mosley, Evening interval, 2019, oil on canvas, 59 × 47 1⁄4".

Ryan Mosley, Evening interval, 2019, oil on canvas, 59 × 47 1⁄4".

Ryan Mosley

Galerie EIGEN + ART | Berlin

It makes sense that Ryan Mosley shares a gallery with Neo Rauch, since both the British painter and his older German colleague use deliberate narrative lacunae and patched-together compositions to suggest the collapse of former certainties. In Rauch’s case, the world he limned was, at least initially, the post-Communist one. Mosley, over the dozen-odd years since he left London’s Royal College of Art, has fashioned colorful, instinctive-feeling, uneasy carnivalesques full of Picassian harlequin patterning, James Ensor–ish skulls, cacti, animals, and, often, men in stovepipe or bowler hats and with extravagant facial hair. Their time and place is no specific time and place at all, but their systemic disorientation speaks, obviously (maybe even a bit too obviously), to our own bewilderment as we get used to the idea that our world might be coming to an end in slow motion.

In Mosley’s recent

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