Hosted by Gary Card, this free, multi-media exhibition by an array of different artists is small but also pretty charming, in a hideous, technicolour way. In addition to the over-the-top pieces on display, every floor and wall surface is coated in bright, disturbing colours and patterns to match. Looks superficially like a fun place to bring kids, but on closer inspection, this may prove unwise.
In a brightly lit hut in the centre lies SPECULUM (Eden, Paradise and Hell) (2018) by SMACK, a 4k CGI-animated video loop triptych. By far and a way the most detailed work of the entire exhibition, it allures with the same comic technicolour that defines the collection, yet visitors will find nightmarish and demonic figures writhing in all three screens.
Jordan Wolfson’s large, untitled printed canvas (2014) also makes a particular impression. Centred on a cartoon of an ecastatic young teen in his room, pissing a bright yellow stream up into his mouth, bumper stickers with crass clip-art cry out meaningless and contradictory phrases like, “TOUCH IS LOVE!” and “Touch Is Hate!”
A giant, rotating flower covered in polka dots by Yayoi Kusama, called Hanako Hi, Konnichiwa (Hello!) (2004), also makes an impression. Tadashi Murakami‘s And Then x 6 (Gold & White: The Superflat Method) (2012) seems almost immediately recognisable and lends a little star quality. It’s all on sale, for any “hysterical” buyers, but in the meantime, everyone is free to enjoy a slightly edgier Berkeley Square.
HYSTERICAL ran 18 July — 21 August 2019.