When it comes to Rachel Zhang’s work the more you look, the more you see. It’s art which requires meticulous observation from its viewer, if in return they want to be rewarded by the joy of discovering the hidden figures discretely placed amongst the scene – such as the politician in the stomach of a patient in ‘seeing permission to enter’ or the bust of a head of a woman in the bottom right corner of ‘hot place heart space’.

Based in Brooklyn New York, Zhang studied at the School of Visual Arts and was recently awarded the NYFA Recharge New Surrealist Prize and has such described as a “leading voice in contemporary genre painting”. Her current exhibition at Saatchi Yates, has offered her a second opportunity to display her art in London, in a gallery acclaimed for its dedication to emerging artists.

Within the walls of the Bury Street building, Zhang has presented 13 titled paintings with the exclusion of captions, enforcing the viewer to translate her work independently – a choice that may not favour the minds unfamiliar to surrealism. Each canvas depicts a familiar location but with a whimsical, phantasmagorical interpretation, inspired by contemporary narrative painters Nicole Eisenman and Neo Rauch. Through these surrealist figurative scenes, she wants us to consider “how interconnected we are- with our relationships to others, to things and places, to the systems we belong in and what roles we play within society” and as such intertwines her paintings with the themes of social psychology. Her work is striking, emblematic and vivid in colour. The large array of work on display is certainly a feast for the eyes, and while brim-full, allows breathing space for thought and thinking and serves as a mirror to the individual’s life- with what you notice and give meaning to, being unique from the person stood next to you. Her work extends to video format, and she provides an array of collage animation, accessible for free online which she hopes gives each person an opportunity to revisit her work in the intimacy of their home.

For those who are mesmerised by surrealist work, and don’t require conceptual subject matter prior to viewing art, Zhang’s exhibition is worth a visit and her career deserving of observation.

Featured Image: Rachel Zhang’s artwork on display – Hot place heart space, 2024, Oil on canvas, 182.9 x 213.4 cm. Courtesy: Saatchi Yates Gallery

Review by Emma Carys

About Rachel Zhang

American artist Rachel Zhang, based in Brooklyn, NY, delves into the absurdities and existential anxieties  surrounding personal autonomy and societal roles concerning systems of power. Through surrealist figurative  scenes, Zhang explores the evolving beliefs that structure social hierarchies and manifestations of control. Her  oil paintings, symbolic of contemporary genre painting, often depict figures in conflict or metamorphosis,  navigating mysterious tasks and public spaces marked by power dynamics. As a second-generation Chinese  American woman, Zhang’s work reflects her nuanced perspective on visibility, otherness, and the complexities  of identity in relation to her cultural heritage and societal expectations. She draws from personal and collective  histories, including the intersection of Asian American experiences, family narratives during 20th-century China,  and broader histories of women’s roles. Zhang earned her BFA from the School of Visual Arts in New York,  where she cultivated her interest in surrealist imagery and its intersection with social psychology. In 2024, she  was awarded the NYFA Recharge New Surrealist Prize.

For more information on Saatchi Yates’ current and upcoming exhibitions visit Home | Saatchi Yates

Read Abundant Art’s latest Review: ‘The Legends of Them’: A spiritual journey sung through scattered memories – Royal Court Theatre until 21 December – Abundant Art

Award-winning actress and reggae singer, Sutara Gayle aka Lorna Gee, invites you into a dreamscape experience; sharing moments in her life, told through songs in this one-woman performance written and performed by herself – The Legends of Them.

Gayle’s dynamic relationship with her mother and her faith emerges as the most compelling aspect of the narrative. Throughout her journey, we hear echoes of her mother mentioning the Lord and the Bible; this seeps into all the crevices of her life, within her desire to become a singer and her sexuality. Near the end, Gayle re-enacts a moment with her mother on the phone, where she comes out as a lesbian. Her mother first responds with, “Well… what about the Bible?” but then tells her that she is her daughter, and she loves her. A moment that really defines the relationship between the two of them, and simply sums up her mother. A mother devoted to her faith and children.

At times, the non-linear narrative can be confusing and hard to follow. However, in some instances, it works well to provide context on Gayle’s character, to understand and see things the way she interprets certain memories. It also invites us to make sense of these specific moments, and question why she has ordered things in certain ways. A helpful tool could’ve been using the colours and lights with more urgency. While contributing to a beautifully vibrant atmosphere, they could have aided in informing audiences of characters and time shifts.

We jump from event to event, with her time in prison, moving from school to school, to the birth of her son. She shares these stories through humorous songs, keeping the audience entertained till she suddenly cuts off into a silence, and so does the audience, and the colourful lights dim. She moves on to the next story. Many of the big moments are expressed through highly energetic reggae songs. These are definitely the standouts. Especially her mother’s song about her beloved sewing machine and her chaotic school journey. Her songs are filled with humour and packed with detail, keeping the audience engaged. It is in these moments that the audience is really drawn into what Gayle has to say.

Though entertaining and humorous, Gayle does not hide the dark and traumatic moments she had experienced. It is here that we see more practical use of stage lighting to create tension and significance, with dark blue lights and smoke taking over the stage.

We see and hear everyone through Gayle, except her brother, Mooji. Uniquely, he is the only character who is voiced by himself through pre-recorded spoken words. This is an interesting artistic choice, highlighting his significance in Gayle’s life, spiritually guiding her through reflective moments. By the end, the audience is also invited by Mooji to join Gayle in reflecting on how memories shape us and our identities. We are asked to “close our eyes” and focus on the present, the now, and not think about the past or the future, offering us a meditative calm to take away – drawing a perfect conclusion to the performance.

Review by Rim Alkaiat

Featured Image: Sutara Gayle AKA Lorna Gee

Image Credit: Harry Elletson

The Legends of Them-Royal Court Jerwood Theatre Downstairs https://royalcourttheatre.com/whats-on/the-legends-of-them/

Read Abundant Art’s latest Review: “A Festive Cauldron of Fun”: Simon Armitage’s adaptation of ‘Hansel and Gretel’ Wows at Shakespeare’s Globe – until 5 January – Abundant Art

The Globe Theatre’s presentation of Hansel and Gretel casts a magical glow over the festive season with a burst of joyous energy. Written by Simon Armitage, this adaptation breathes new life into the classic Brothers Grimm fairy tale from 1812 with a comedic twist, brought to life by a talented ensemble.

The story follows a young Hansel and Gretel ( Ned Costello and Yasemin Özdemir) who are led into the forest  by their parents, a wood cutter and a bread maker (Harry Hepple and  Beverly Rudd),  attempting to save their children from a conflict back in their home village.  On the way, Hansel catches wind of their plan and surreptitiously places white pebble and bread crumbs  to trace their way back home, however, his plan fails. The story then  follows the two abandoned siblings, left to fend for themselves, who are allured by a tempting sweet and sugary  house. But even the house has its secrets, as Hansel  and Gretel come across a  “creepy old lady” (the evil witch, Beverly Rudd), who takes them under their control.

This new version contrasts from the original narrative in a way that sets in tune with a modern audience. In Armitage’s version we see war and conflict rather than poverty and hunger in the original 18th century family which leads to the abandonment of the children. In this representation, the parents prioritise their children’s safety, unlike the original version, where the parents’ original emotions were guided by hopelessness and desperation. The image Armitage attempts to portray is of a loving family, rather than a grim and melancholic one, shifting the focus from despair and ruthlessness  to selfless love  and hope.

Well choreographed and performed musical pieces such as ‘Usherette’s Song’,  ‘Lamp Light’ and ‘Panic Attack’ bring melodious and light hearted moments to the  audience. Despite the rains pouring into the circle at the Globe on a cold December evening, the audience was enveloped in the joyous warmth radiating from the performers.

Narrator Jenni Maitland delivers an engaging performance from start to finish,  introducing the characters with comedic flair and interspersing the show with humorous anecdotes.. Beverly Rudd’s versatility speaks loud and clear through her dual characters, as she convincingly plays both the mother and the wicked lady, seamlessly transitioning  between two contrasting roles. In one, she is an outgoing, firm, and caring mother, and in another, she is the grooving, cunning and sly, antagonist. Through both she manages to bring humour into the show.

Overall, this show is a spectacle in its own right: the tight and concise storyline by Simon Armitage perfectly blends with the precise and impactful direction by Nick Bagnall.  It is easy to follow for everyone and well performed by the entire cast. The witch’s cauldron brings an effervescent opening to the festive season in this family friendly adaptation at the Globe Theatre!

Review by Ayush Chatterjee

Featured Image: Beverley Rudd as Witch in Hansel and Gretel at Shakespeare’s Globe (c. Ellie Kurttz)

For tickets and information visit Hansel and Gretel 2024 | What’s On | Shakespeare’s Globe

Read our latest Review: Tara Clerkin Trio: A Sonic Journey Through Bristol’s Avant-Garde Soundscapes, at EartH Hackney on 16 November – Abundant Art

I had coincidentally travelled straight from Bristol to see Tara Clerkin and her bandmates, brothers Sunny-Joe Paradiso and Patrick Benjamin, whose sound unmistakably channelled their West Country hometown. Settling into the deep-set bleachers of EartH Hackney, I found myself in a space reminiscent of a ramshackle school assembly hall, with its lofty ceilings and dwindling grandeur. Originally an octet, the group had shed five members, yet the stage bore no resemblance to this subtraction. Arranged with a mélange of acoustic instruments, multiple mixers, pedals, and peculiar pieces of retro-futuristic tech, the trio’s setup felt anything but stripped back. At the centre sat a cerulean glass fish, suffused in light, its gaping mouth directed at a microphone. Both abstract and amusing, it stood as an emblem of the eccentric experimentalism that was about to unfold.

With gawkish confidence, the trio shuffled onto the stage and immediately dove into their instrumental riddles. Paradiso opened with discordant brushes of his cello, while Benjamin’s coolly executed keyboard melodies garbled between Clerkin’s ouroboros-like synthy loops. The result evoked a sound reminiscent of Dorothy Ashby’s Afro-Harping albeit in a more fragmented, adventurous iteration. While the layering grew impressively complex, moments of disjointedness left me questioning whether parts were intentional or stumbling toward coherence, and how the former members could have fit without it sounding entirely frenzied. However, once they found their way, their off-kilter samples, electronic drum beats, and airy piano chords laced together, both overriding and giving way to produce a respiring, multi-instrumental soundscape.

Loosely defined as jazz, their show possessed an interstitial quality, straddling multiple genres and covering a range of sonic touchpoints—from naturalistic psych-pop and ambient folk to elements of DnB and woozy trip-hop. Despite drawing from a myriad of influences, their unifying thread was distinctly geographical. Recording samples from everyday life in Bristol, Clerkin captured the nonchalance of the city—breathy gusts from the harbour, chiming church bells, and dismantling scaffolding. Through improvised and extended grooves, these samples led the rapt audience on an undeniably engaging, psychogeographical journey through their hometown.

The trio’s contemporary soundscapes of the city were complemented by an homage to their sonic heritage, as they pushed the 90s Bristol trip-hop template into twisted new forms. At times, this felt like a bold reinterpretation; at others, it seemed to tread familiar ground. Clerkin’s brittle yet breathy vocals carried a sweetness that inevitably drew comparisons to Lou Rhodes of Lamb or Tricky’s long-time collaborator, Martina Topley-Bird but there was also an element of vulnerability in her delivery that made her voice uniquely her own. Playing mostly new material, the brothers steered each track into uncharted territory, executing rhythmic handbrake turns that sometimes felt unsteady but solidified the trio’s commitment to unpredictability.

Taciturn on stage, Paradiso signalled the end of each track with a slightly awkward yet charming thumbs-up, prompting applause from the audience. An unplanned, vaguely chaotic encore followed, with Paradiso somersaulting onto the stage, Benjamin tripping over the stairs, and Clerkin watching with mild amusement, clearly accustomed to their antics. Their final performance delivered a kind of jazz/dub ballad: velvety vocals layered with deviant beats that clashed abrasively against Clerkin’s aquatic clarinet notes—perhaps an ode to the glass fish mascot.

A truly avant-garde and experimental band, Tara Clerkin Trio delivered a completely mesmerising performance. Despite their unorthodox instrumentation being challenging for the audience at points, their set ultimately won us over with pastoral fades, washes of synths, and syncopated drum beats, leaving a lasting, transgressive impression, even if it occasionally lacked polish.

Review by Florence Marling 

Featured Image : Tara Clerkin Trio at EartH Theatre (c) Samuel Mitchell

Presented by Upset The Rhythm

Read Florence’s latest Review: ‘All We Imagine As Light’ – A Beautiful Meditation on Womanhood in India, in cinemas from 29 November – Abundant Art

Payal Kapadia’s ode to Mumbai eroticises constant movement: woozy shots of passing trains, crowded markets and murmuring traffic evaporate before we can grasp them. These dreamlike sequences are elliptical to the extreme, catching us, as observers, in the perpetual present tense. Fleeting encounters between friends and lovers unfold amid the humidity, darkness and perpetual rain; bright lights twinkle across a city that never sleeps as each worker, spectator and traveller holds fast to its allure to keep it alive. Even in the opening scene, Mumbai reveals itself as a place to be lost, to be healed, to gain and to lose time.

Tender and entrancingly observed, All We Imagine as Light captures the loneliness and ennui of three women navigating life as nurses in the sprawling city. Prabha (Kani Kusruti), grounded yet withdrawn after her husband left for Germany and ceased all contact, now sublets her apartment to the plucky Anu (Divya Prabha). Anu, however, is already causing a stir among her friends at the hospital with a clandestine relationship with her Muslim boyfriend (Hridu Haroon). Their older colleague Parvaty (Chhaya Kadam) is widowed and now faces an uncertain future; a property developer has bought her building and without proper documents, she risks losing her home.

Viewers must embrace the unhurried pace of this film, where reflections unfold without clear narrative realisations or linearity. Instead, the camera captures prosaic details and intimate moments of unguarded womanhood from shaded doorways, through windows and down long corridors. Here, the trio moves, visible yet obscured, alive in the city yet isolated and insignificant amid its vastness.

We witness a moment of unfettered heartache as Prabha rocks back and forth on her bedroom floor, clutching a rice cooker sent by her husband– an insulting, parting gift. This loveless object becomes a poor substitute for his presence, while a haunting jazz piano score underscores this moment of forbidden yearning. Her sorrow lingers with the rain that beats down through the open window, filling the room with a palpable scent of petrichor and melancholy.

A twist of fate brings the three women to the coast, where the film’s colour palette softens, and sunlight gently warms their faces. Away from the nocturnal city, the women experience moments of visibility and begin to heal from their respective heartbreaks. While the retreat provides solace through quiet revelations and subtle gestures, the director skilfully avoids the conceited trap of a simplistic city-coast binary. She continues to underscore the charged tensions between the women that were present in the city, yet allows room for self-reflection and quiet bonds of sisterhood to take root.

All We Imagine As Light is a subliminal example of womanhood in modern India. The narrative is deliberate, if in places a little discursive, yet mesmerising in its honesty and affection. A film replete with aching sadness and heartbreak yet shaped by moments of connection and quiet humanity. Though nothing is resolved, great shifts have taken place.

Payal Kapadia’s All We Imagine as Light is winner of Cannes Grand Prix 2024 and is in cinemas 29th November.

Review by Florence Marling

Read Florence’s latest Review: ‘Waves’ of Displacement: Huang Po-Chih’s evocative exploration of labour and identity, at Hayward Gallery until 5 January – Abundant Art

‘Christmas at Kew’ returns for the festive season and its eleventh year to welcome visitors back inside its magical wonderland. Dating back to the 18^th century, The Royal Botanic Gardens were officially declared a UNESCO World Heritage Site in 2003 boasting many iconic pieces of architecture, including the Princess of Wales Conservatory and the Palm House which have become synonymous with their image, along with the park’s wildlife, nurturing an impressive 50,000 living plants. This year’s never-seen-before installations marry light and music to transform the gardens nature illuminated in the night and is utterly magical.

From the moment you step onto the trail you are instantly immersed into the festive atmosphere with the grandeur of the first installation perfectly setting the tone for the evening. Titled ‘Sea of Light’ and commissioned by Ithaca Studio, this spellbinding production is physically impressive being composed of 8,000 individually controlled calls of light along with 400m of bespoke LED lit trees.’[1] The lights swirl around the onlookers, coil around the trees, and blanket the grass, all while rhythmically shifting through multicolours in time with hauntingly beautiful music. Additionally, the choice to showcase the display against the historic Palm House adds a magical touch, as the vibrant spiral seem to flow into the building, creating a whimsical and captivating visual effect.

The standout performance compelled me to audibly gasp at my friend ‘how have they done that?’ Suitably titled ‘Fish are Jumping’ the installation has onlookers watch from the bridge as small beads of light sporadically leap from the water, mimicking fish in motion. It premiered at Glow Eindhoven festival in the Netherlands and is described by its producer, Toer Studio as ‘An ode to the little simple surprises in life.’[2] This intimate display gives moment for pause within the theatricality of the exhibition, celebrating the stillness and wonder of the festive season.

Just when you start to lose yourself within this dazzling wonderland completely, you are struck by its dramatic finale. Set before the opposite side of the Palm House, a stunning light and water show takes centre-stage, commanding—and deserving—your full attention.

Different crowds gather to watch repeated rounds, huddled over the bridge as if at a live concert. Overall, ‘Christmas at Kew’ delivers a show that more than lives up to expectations, enchanting both adults and children alike, and has personally re-awoken my Christmas spirit.

Review by Olivia Kiakides

Featured Image : Christmas at Kew 2024. Credit – Ines Stuart Davidson-©-RBG-Kew-scaled

[1] https://ithaca.studio/2018/01/15/sea-of-light/

[2] https://studiotoer.com/fisharejumping/

For tickets and information visit Christmas at Kew | Kew

Read Olivia’s latest Review: ‘Whistling As The Night Calls’: Martin O’Brien and zack mennell’s provocative exploration of the spectral space between life and death- at Deptford VSSL Studio until 1st December – Abundant Art

The Bindi – A decorative forehead dot worn by Indian women, laden with meaning of social and religious principles and the point at which human consciousness affixes to the spiritual realm – and additionally a symbol synonymous to the creative career of artist, Bharti Kher. But what made her choose this as an emblem of her work and how has it evolved in form and meaning over time?

Six years into the new millennium, Bharti presented to the world ‘the skin speaks a language not its own’ depicting a life size sculpture of a dying elephant covered entirely in white snake bindis, she happened to purchase while walking through a New Deli market. The figure, which many attribute to be her breakthrough work, asks us to consider the skin as a palest of many layers of history, mythology, geography, and space – with the binidi being the vital component that raises the thinking in its onlooker.

A year later she would present her next evolution of the bindi in ‘an absence of assignable cause’ which was her deeply researched envision of a sperm whale’s heart, made from fiberglass – and you guessed it – decorated in bindis. In what is a spectacular feast for the eyes, the heart of the Blue Sperm Whale is the largest functioning heart amongst mammals and for Kher, an organ which ignites the question of why we love:

“We don’t know why we love; we don’t know why we have this thing called pain, we don’t know why we make relationships with other people and experience extreme joy or heartbreak.”

The bindi is the emblem which allows her to explore these questions. Cross culturally it is understood as a symbol representing the human understanding of something which is more paramount to our existence. It is the thing that adds poignancy to Kher’s work and allowed her to explore biopolitics in her 2013 piece ‘cell III’. Created using pink felt bindis mounted onto board, the piece mirrors what we would perceive to be bacteria under a microscope, as a prompt not to mistake the arts and sciences as being distinctly opposite in nature and an ask of us to analyse the importance of our individual existence.

Now, in her new commission, on the external walls of Hayward Gallery, she yet again transforms her chosen iconography, this time into a large scale, mesmerising concentric circle. The title ‘Target Queen’ takes inspiration from her 2007 diptych of the same name. It’s bold presence amongst the brutalist walls hangs as a reminder to those who pass by, of a goddess divinity within them, separate to religious doctrine of faith.

Quizzed on whether she believed the UK to be lacking in a national sense of spirituality she simply stated:

“There is no prize for who is closer to the spirit…I don’t hear the sea telling anyone how to move in its waters.”

The instillation is an injection of vibrant femininity on the riverside of London’s Southbank and is a much-needed motif for the country’s capital and its quotidian life. Its colours can be seen suspended from the Southbank Centre and is a must see, as a place to stop and ponder life and they ways in which it can manifest.

Review by Emma Carys

Featured Image – Bharti Kher – Target Queen, Hayward Gallery, 2024. Photo credit – Jo Underhill. Courtesy of the artist and Hauser & Wirth.

Target Queen is generously supported by the Hayward Gallery Commissioning Committee, Kate and Ajay Agarwal and Hauser & Wirth. Bharti Kher: Target Queen | Southbank Centre

On Thursday 12 September, the Hayward Gallery unveiled Target Queen, a mesmerising and colourful large-scale new commission by British-Indian artist Bharti Kher. Marking the first time that Kher’s ambitious outdoor work has been presented by a London institution, Target Queen is positioned across the Hayward Gallery’s eastern and southern facades, celebrating and playfully interacting with the iconic architecture and cultural playground of the Southbank Centre.

Target Queen launches alongside Bharti Kher’s solo exhibition Alchemies at Yorkshire Sculpture Park (on until Sunday 27 April 2025). Bharti Kher: Alchemies | Yorkshire Sculpture Park

Read our latest at Hayward Gallery Review: ‘Haegue Yang: Leap Year’ – A Playful Exploration of Light and Sound, at Hayward Gallery until 5 January 2025 – Abundant Art

Read our latest in exhibitions Review: Anastasia Samoylova’s ‘Adaptation’ – A visual journey examining the distinction between simulated ideologies and reality – at Saatchi Gallery until 20 Jan 2025 – Abundant Art

Sometimes, one’s perception of reality can be expanded on through limiting perspective.  Previously invisible factors and nuances are revealed through the omission of others, and the holistic perspective is deeper understood. In an increasingly overstimulating world overrun with simulation, the value of this process is obvious. Photography removes the passage of time from our perception, as well as the parallax that complicates reality through introducing multiple spatial perspectives. It gives us the power to control instantaneous perspective and force reflection on it. In the first major exhibition survey of her work, Anastasia Samoylova’s ‘Adaptation’ at Saatchi Gallery utilizes the aforementioned qualities of photography to examine multiple themes including climate change, the impacts of capitalism, and the societal qualities revealed by public space and its occupants.

Samoylova’s thorough understanding of her chosen medium is reflected very well in the show, with works evolving from explorative mixed media pieces and conceptual set photography, to more traditional street and aerial photography as the show progresses. Curated by Taous Dahmani, the survey effectively highlights the consistencies in what Samoylova’s perceptive eye captures, cultivating an overall impression of the photographer that leaves the viewer confident in recognising her work.

The exhibit opens with a selection of images that bring awareness to Samoylova’s creative process and perceived uses of photography. Accompanied by a time-lapse of the construction of Landscape Sublime, room one highlights the importance of understanding Samoylova’s process to contextualize the subsequent works within her unique approach.  In Landscape Sublime Samoylova explores nature’s idealized portrayal through constructed, ideological landscapes that border on the absurd. By using open-source images and exaggerated reflections, she draws attention to photography’s duality as a tool for both representation and distortion. By photographing real,  physical compositions of images, she suggests a world progressively mediated by imagery—a layered hyperreality that questions our expectations of nature and wilderness. These expectations are challenged as the show progresses.

In a series of images from Breakfasts, food items are composed atop open photography books, featuring the work of notable inspirations to Samoylova, such as Walker Evans and Barbara Kasten. Their influence can be seen later on in the exhibit and the series is a great visualization of how passion bleeds into an artist’s everyday life. The far wall is mounted with ‘Biscane Bay’ (2018)  nd ‘Six Real Matterhorns’ (2015). Without explaining them in detail, as the wall text does brilliantly, these two works consolidate the most important elements of Samoylova’s work – “composition and illusion”. I found the minimal display here to be quite assertive and reassuring of Taus Dahmani’s highly informed curation.

Through an opening that leads to room two, a wall-sized, underwater image of a swimming alligator’s lower body can be seen. This effectively draws the viewer in to investigate what theme this image could relate to, and with it crowding my peripheral, I found myself impatient to move on from room one. Made across the states of Florida, Georgia and Louisiana,  Floodzone is a series that exposes infrastructure that is insufficient for dealing with the dominant natural forces of these southern states. Aerial photography of flooded residential areas brings a new perspective to nature’s power, suggesting the perspective humans lack to adapt to natural forces. Documenting destruction like this alludes to a theme of powerlessness felt by humanity, not only to nature but to our own self destruction. ‘Concrete erosion’ encapsulates the title of the show for me, with its focus on the ability of nature to adapt to human impact, and the downfalls of design fuelled by simple functionality and disregard for sustainability.

Room three presents Floridas, thematically synergising with Floodzone, with a shifted focus to the weathered Floridian urban landscape that conceals dysfunction through its overshadowing facade. There is a comical aspect to the documented destruction of such landscapes and expendable consumerist items, perhaps because of the pride and ignorance exuded by such excessive, kitschy design. ‘Blue Velvet Chair’ (2020) shows a chair, surrounded by algae, floating in floodwaters that reflect a bright pink building facade in the background. Flashy storefronts, idealized construction billboards, and capturing of printed images on the street suggesting simulated reality make up the rest of the series. The investigation into contradictions and concealment of truth reflected in Samoylova’s vision speaks to her previously constructed metaphors for such themes in Landscape Sublime. ‘Condo reflection at king tide, Hollywood’ (2019) stands out as perhaps my favorite image of the show. It shows a wind rippled puddle reflecting a Floridian art deco condo against an overcast sky, with the forms of the building strangely aligning with the waterlogged grass surrounding the puddle. The wind that distorts the surface of the water lends that distortion to the building through reflection. Through crystallization of a very dynamic moment like a building reflecting off water ripples, the viewer is given the opportunity to reflect on a moment that is usually very fleeting in our perpetual presentism. The image is a great example of how Samoylova limits perspective to create a new narrative about a subject, in this case the contrasts and similarities of man and nature.

The final room consists of the most conceptually dense and widely relatable work in the show. As the curatorial text reads, the series is an investigation of “polluting capitalist visual culture” inspired by the 1967 French film ‘Playtime’ by Jaques Tati. The lack of diversity in image aesthetics, despite being shot internationally over seventeen different locations, alludes to the globalization of visual culture worldwide and the late stage evolution of consumer interests into culture. Samoylova’s continued use of reflections throughout the series, suggests the dissonance present constantly in the saturation of images on the streets and in our minds. ‘Peeling posters, los angeles’(2022)  literally reflects failed attempts at perfection, and deterioration of illusion onset by environmental impact. ‘Printed building cover, Moscow’ (2021) is a depiction of illusory progress. Showing decorative covering of scaffolding contrasting with a man walking into the building, it captures the prideful presentation of an idealistic future project, exposing society’s fixation with perceived rather than proven progress. In ‘Beauty salon, Milan’ (2022), an elderly woman with beautifying curling rollers drags a cigarette while staring into the distance, unknowingly stepping in front of a huge billboard of a supermodel. I found this image particularly loaded because it reflects ways of coping with the desires constructed for us by the hyperreal, whether or not we are aware of our free will to resist them.  There is immense depth in this series, and overall it shows Samoylova’s patience in waiting for  narratives, relevant to her intentions as a photographer, to appear in her environment as she peers through her analytical lens. It also contains some of the best compositions in the show extracted from the minimal geometric design of modern cities.

In conclusion, Samoylova’s progression from controlled, mixed-media compositions to more spontaneous, observational photography mirrors the exhibition’s thematic evolution, from constructed critiques of idealization to raw portrayals of reality that reflect that idealization. The exhibition challenges us to reflect on how the images around us influence our understanding, both of nature and of ourselves, in a world where reality is increasingly shaped by simulation. It should also be said that regardless of the conceptual curation and themes present in the show, all the displayed images are visual spectacles in their own right through their vivid colours and masterful composition. Any kind of image maker would very likely be inspired in their own way after a visit.

A ticket to ‘Adaptation’ includes entry to two other exhibitions at Saatchi, running concurrently. ‘As We Rise: Photography from the Black Atlantic’ is a selection of works from the Wedge collection, curated by Elliot Ramsey. It provides an informative depiction of African diasporic culture and Black life, categorizing work into themes of community, identity and power, accompanied by detailed descriptions and curatorial texts. Aneesa Dawoojee’s ‘March of The Hummingbirds’ explores UK migrant history, with a focus on the Caribbean and Mauritius, through portrait photography and installation. The show encourages trust and understanding amongst cultures to foster community spirit and shed light on lesser known stories of immigration.

Review by Chris Wieland

Featured Image-Cities – Beauty Salon – Milan 2022

For information and tickets visit www.saatchigallery.com

Read Chris Wieland’s latest Review: Critical Edge Collective’s ‘From the Ground Up’: Investigating knowledge in the post truth era through collaborative art – at Lewisham Arthouse, October 2024 – Abundant Art

Each year, classical music enthusiasts eagerly await the Darbar Festival in London. We  look forward to those profound moments  of emotional and sensory experience that can only come  from an ancient and highly evolved musical heritage – that of Indian classical music. In this age of streaming music, Darbar provides the rare opportunity of live performances of Hindustani and Carnatic classical music  to a London audience. It offers that rare ephemeral moment where the musician and the audience feel connected with each other and with the infinite.

In keeping with Darbar’s track record of showcasing the latest classical music talent, alongside maestros, we were treated to an evening of glorious instrumental music by two prodigious young talents. The first part of the evening saw a sarod recital of Aman Ali Bangash who was accompanied by the young Anubrata Chatterjee on tabla. The second part saw a performance of legendary Carnatic violinist Dr. L. Subramanian who was joined by his extremely talented son Ambi Subramaniam.

No Carnatic instrumental recital is complete without the resonating rhythm of the Mridangam, one of the most ancient percussion instruments of Indian music and the Ghatam or the clay pot which provides a tonal contrast to the Mridangam. The Subramaniam father and son duo were accompanied by Pandit Anindo Chatterjee on tabla, VV Ramanamurthy on mridangam and Giridhar Udupa on ghatam.

Aman Ali Bangash opened the evening with a rendition of ‘Raga Shri’. It’s an early evening ‘raga’ which has been widely used by Sikh Gurus in their compositions. It’s also celebrated in a lithograph of Wajid Ali Shah- the Nawab of Oudh who is famous for his love of Indian classical arts. The raga is said to create a devotional mood with a power to call down spirits. Bangash interpreted the raga beautifully, swiftly moving from an introspective’ alaap’ to a ‘japtal’. Next he presented’ Raga Desh’, a beautiful and romantic night raga before finishing with ‘Raga Sindhukosh’ based on one of his fathers compositions.

Dr. L Subramaniam is a renowned violinist of the Carnatic branch of Indian classical music. In the second half of the evening he started with a rendition of ‘Raga Hansadhwani’. Composed in the Pentatonic scale it’s one of the iconic ragas of the Carnatic school. The percussion interludes in between the violin solos and duets radiated high energy. The tabla master was joined by the highly skilled mridangam and ghatam players in a showcase of different’ talas’- the metrical cycles of the rhythmic system. The accompanying ensemble presented live improvisations keeping up with the violin virtuosos.

Darbar Festival presents evocative concerts where performers and listeners both delight in sharing high emotional and sensory experiences. Long after the show the music echoes in the mind.

Review by Koushik Chatterjee

Featured Image: Dr. L Subramaniam and Ambi Subramaniam in performance

Darbar Festival 2024 ran from 24th to 27th October, presenting the finest international and UK Indian classical musicians. Passionate about programming female artists, and offering Britain’s finest musicians, composers and singers an international platform, Darbar Festival continues to be the best place to discover the ever-evolving melody and rhythm of Indian classical music.

Programme highlights included:

Dr L Subramaniam and Ambi Subramaniam + Amaan Ali Bangash.

Pandit Kushal Das + Ashwini Bhide Deshpande. A special concert celebrating midnight ragas through India’s iconic sitar, followed by the Jaipur-Atruli style of khayal (imagination) vocal.

Aruna Sairam. An authentic south Indian concert known in India as a kacheri, presented with a vast repertoire of raga and spiritual lyrics.

Pandit Anindo and Anubrata Chatterjee. Tabla duet by India’s finest tabla legend with his son.

Read Abundant Art’s latest Review: ‘Whistling As The Night Calls’: Martin O’Brien and zack mennell’s provocative exploration of the spectral space between life and death- at Deptford VSSL Studio until 1st December – Abundant Art

Hayward Gallery’s latest exhibition Haegue Yang: Leap Year is both familiar and strangely unsettling. You enter via a curtain of bells, creating a melodic clanging that reverberates through the gallery. It’s the first clue that this exhibition isn’t just about viewing art; it’s about immersing yourself in it, becoming a participant rather than a mere observer.

The initial gallery sets the tone. Your eyes are immediately drawn to Non-Indépliables, nues (2010/2020), a series of drying racks standing sentinel in the centre. Strings of lights weave through the metal frames, casting an ethereal glow. A projected image flickers on the wall behind them, its content veiled in a wash of light. Two leather armchairs beckon you to sit and contemplate, while a long string of bells hanging from the ceiling occasionally chimes with a gentle sway. Every few minutes, a clicking sound pierces the quiet hum, emanating from the old slide projector at the back. The invigilator, seemingly part of the performance itself, rises intermittently, shaking the bells and adding their soft melody to the soundscape.

Throughout Leap Year, Yang masterfully blends the familiar with the unexpected – a sense of playfulness present in the way she utilises ordinary materials. Yet, beneath the surface lies a subtle tension, a suggestion of something deeper that invites you to contemplate the spaces between light and shadow, order and chaos, the seen and unseen. Yang creates immersive experiences, drawing on inspiration from diverse histories, including East Asian tradition and folklore. By utilising the domestic, she seeks to highlight issues of labour, migration and displacement.

The final gallery sees a stand-out multisensory installation. The viewer is invited to sit at the back of the space, as experimental instrumental music pours from speakers on both sides. A spotlight darts across the room, momentarily revealing a forest of Venetian blinds hanging suspended above. On occasion, the light filters behind the blinds like the morning sun. However, as the music intensifies, the spotlight becomes the lead character. The tones evoke a sense of looming danger, creating an atmosphere of suspense that leaves you unsure whether you’re witnessing a performance or a prelude to something more sinister.

Haegue Yang: Leap Year is an exhibition that demands your full attention, a multi-sensory exploration that invites you to engage with the world around you in a new light. This boundary-pushing exhibition is not to be missed.

Review by Amy Melling 

Haegue Yang: Leap Year is showing at Hayward Gallery until 5 January 2025. Find out more information and purchase tickets here.

Featured Image: Installation view of Haegue Yang: Leap Year, 2024. Star-Crossed Rendezvous after Yun, 2024. Photo: Mark Blower. Courtesy the artist and the Hayward Gallery.

Read Amy’s latest Review: Fragile Beauty – Timeless Moments from the Sir Elton John & David Furnish Photography Collection at V&A