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The grand Regency exterior of Carlton House Terrace is countered by the starkness of the newly opened-up gallery space.
The bare wooden floor recalls the building’s original function as stables for the royal horses (Buckingham Palace is just up the road).
I wonder how many of them daydreamed about handing in their own resignation letter.
Middleton’s exhibition also recalls the work of Maria Eichhorn.
Agitated and bored, the undernourished canine paces, sniffing and barking intermittently. A bark without a bite, the dog is in looped purgatory.
Asher’s asceticism, and Middleton’s quotation of it, suggests that something so historically antagonistic has become scenery in overpriced cafés.
It was a loud and cold environment, and you couldn’t go home until all the milk had been processed.
The shifts were typically twelve hours long, and my coworkers would often sneak off to the toilet while we were working, returning about half an hour later.
The effect is more Hackney warehouse than the glitziness of neighboring commercial galleries such as Marian Goodman and Hauser & Wirth et al.
Of course, the bare walls of a commandeered industrial building are not a completely anomalous sight in city centers.
Alongside the architectural deconstruction, Middleton has knocked down the partition that separated the corridor and the gallery, and an elevated timber floor covers the entire space.