reviews

  • Mandy El-Sayegh, WALL, 2021, oil and mixed media on silk-screened linen, 74 × 47 1⁄4".

    Mandy El-Sayegh, WALL, 2021, oil and mixed media on silk-screened linen, 74 × 47 1⁄4".

    Mandy El-Sayegh

    Lehmann Maupin | Seoul

    The new paintings that Mandy El-Sayegh offered up in “Protective Inscriptions,” her first solo show in South Korea, were jumbled, off-kilter, many-layered, and deeply discomfiting. They never cohered, not because they were actively rebelling against coherent composition, but because they seemed to be unaware that such coherency could exist. They were fields of disconnected actions and accretions of information, legible only in rare instances.

    El-Sayegh’s trademarks—tight grids (here, silk-screened in red and teal), thin veils of paint, collaged pages of the Financial Times—appeared in the six

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