A group exhibition of conceptual photography at Sprüth Magers in London features works that parody social norms and challenge traditional notions of success in the art world. The show is divided over four floors, with still and moving images showcasing a range of artists exploring themes of identity, femininity, and technology.
One standout piece is Martine Syms' She Mad: The Non-Hero, a conceptual TikTok-inspired work that satirizes social media culture by impersonating the struggles of an emerging artist. Louise Lawler's 1972-81 audio work Birdcalls, which calls out sexism in the art world with bird-like sounds of famous male artists, is also a highlight.
The exhibition features various forms of humor, from Bruce Nauman's playful mouth shapes to Thomas Ruff's self-absorbed performances. However, the show's reliance on humor as a tool for critique sometimes falls flat, particularly when attempting to parody other art movements or referencing cultural references that may not resonate with modern audiences.
Artists like Aneta Grzeszykowska and William Wegman bring clever satire to their works, while John Smith's 12-minute video The Girl Chewing Gum is both hilarious and eerily prescient in its portrayal of fake news. However, some pieces, such as Carrie Mae Weems' image of salt and pepper shakers, fail to provide clear context or connection to the rest of the exhibition.
Ultimately, Seriously, like many conceptual art exhibitions, is less about inducing laughter than using humor as a tool for social commentary and critique. While it may not be laugh-out-loud funny, its playfulness and wit effectively push photography beyond traditional documentary boundaries into an experimental realm that challenges viewers' perceptions of success and identity in the art world.
One standout piece is Martine Syms' She Mad: The Non-Hero, a conceptual TikTok-inspired work that satirizes social media culture by impersonating the struggles of an emerging artist. Louise Lawler's 1972-81 audio work Birdcalls, which calls out sexism in the art world with bird-like sounds of famous male artists, is also a highlight.
The exhibition features various forms of humor, from Bruce Nauman's playful mouth shapes to Thomas Ruff's self-absorbed performances. However, the show's reliance on humor as a tool for critique sometimes falls flat, particularly when attempting to parody other art movements or referencing cultural references that may not resonate with modern audiences.
Artists like Aneta Grzeszykowska and William Wegman bring clever satire to their works, while John Smith's 12-minute video The Girl Chewing Gum is both hilarious and eerily prescient in its portrayal of fake news. However, some pieces, such as Carrie Mae Weems' image of salt and pepper shakers, fail to provide clear context or connection to the rest of the exhibition.
Ultimately, Seriously, like many conceptual art exhibitions, is less about inducing laughter than using humor as a tool for social commentary and critique. While it may not be laugh-out-loud funny, its playfulness and wit effectively push photography beyond traditional documentary boundaries into an experimental realm that challenges viewers' perceptions of success and identity in the art world.
It's like they're holding up a mirror to our art world and making fun of all the norms we thought were set in stone 
. I mean, who wouldn't want to watch a video of Bruce Nauman's mouth shapes going around in circles? 
But seriously, Martine Syms' work is straight fire 
- she's basically skewering social media culture and I am here for it! 
.
But overall, this exhibition is a breath of fresh air and I'm loving how it's pushing photography beyond traditional documentary boundaries 
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I went to this exhibition at Sprüth Magers in London and I gotta say, it's like they took a lot of different perspectives on social norms and mashed them together 
. There's this one piece by Martine Syms that's just killing it with its TikTok-inspired humor 
. And, honestly, some of those performances by Thomas Ruff? Side-splitting 
. I mean, who wouldn't want to laugh while also being thought-provoked? 
! The only thing that would've made it even better is if they'd included more interactive elements or immersive experiences, but overall, I'm just stoked to see so many talented artists pushing the boundaries of photography. 
. And can we talk about Martine Syms' TikTok-inspired work? It's like she's speaking straight to our generation 
. But overall, it was still pretty cool seeing all these different artists exploring identity and femininity through photography 
. Martine Syms' TikTok piece was hilarious, though - I loved how it poked fun at the struggles of being an emerging artist 
. and can we talk about how amazing it is that Martine Syms' work is inspired by TikTok? 
that's like, totally a new level of meta! 
I'm kinda loving this exhibition at Sprüth Magers, but I gotta say, some pieces had me rolling my eyes 
. Like, I get what they're trying to do with Martine Syms' She Mad: The Non-Hero - it's a clever sendup of social media culture and the struggles of being an emerging artist 
. But, at times, it felt like they were relying too much on parody, rather than actually saying something new 
. But sometimes, less is more, right? I mean, Aneta Grzeszykowska and William Wegman, on the other hand, brought some serious wit and satire to their works 
Like, I get what Carrie Mae Weems was trying to do with her salt and pepper shakers, but it's not really clear how they fit into the rest of the show. Maybe that's just my lazy brain, tho 
. Still, overall I think the exhibition did what it set out to do: use humor to spark conversation and push photography in new directions 
The exhibition has its moments, I guess, especially when it comes to Louise Lawler's Birdcalls - that thing gives me goosebumps! But some pieces feel like they're just trying too hard to be funny or edgy. Aneta Grzeszykowska's work is actually pretty clever, though. And I do love how the show plays with traditional notions of success in the art world... it's like, what even is success anymore? 
Anyway, I did love the way the exhibition used humor as a tool for critique - it was like they were saying "okay, let's make you laugh first and then maybe think about this stuff." It worked, sorta...
. It's a reminder that art can be both entertaining and thought-provoking at the same time, and I'm always here for that! 
. It's like, we're so used to seeing curated highlight reels online that it's almost laughable (in a weird way) when artists start playing with those same expectations.
their satire is on point. but yeah, some pieces feel a bit meh... Carrie Mae Weems' salt and pepper shakers thing just doesn't quite land for me idk
It's like they're saying, "Hey, we know this stuff is weird and doesn't quite add up." But seriously (no pun intended), the exhibition does an amazing job of challenging our perceptions. I'm obsessed with Martine Syms' work - it's so relatable to anyone who's ever struggled to make a name for themselves in the art world 