London Art Reviews

Magazine of art press and reviews from London

Great “No Not Never None” exhibition by Everett and Lattanzi Antinori at the Kristin Hjellegjerde Gallery, London.

Jeremy Everett "Untitled (Buried Cheerleader)" Buried C-print © ph. Kristin Hjellegjerge gallery, London

Jeremy Everett “Untitled (Buried Cheerleader)” Buried C-print © ph. Kristin Hjellegjerge gallery, London

London – The exhibition “No Not Never None” was very interesting at the Kristin Hjellegjerde Gallery.

It was a two artists exhibition, Jeremy Everett and Fabio Lattanzi Antinori, who both were investigating the topic of ‘appearance’, which, in philosophy, relates to what seems to be – eg. things as they are for human experience. In the ancient philosophy, the term ‘appearance’ indicated a reference to the opinion of the sensitive perception of the phenomenon, believing both of the terms are associated to uncertainty in acquiring a truth which is presupposed instead of one considered absolute.

The appearance concept usually implies an opposition between the perception of a thing and its objective reality.

Sometimes things are not as they seem, and other times things seem to be as they are not. But very often we simply do not know how things are. We just rely on our senses and our assumptions to guide us through this uncertain world.

With strong references to the Post- Modernism movement, “No Not Never None” by Jeremy Everett and Fabio Lattanzi Antinori explored the disconnection between how things are and how they seem, through a mixture of painting, sculpture, photography and installation.

The title of the exhibition, No Not Never None, reveals the sense in which our lives are always caught in a state of apparent contradiction. The gallery itself was designed as a site of deep uncertainty in which norms and conventions were destabilized. Both artists were concerned with the precarious balance of the existence, caught by hidden volatility and vulnerability which is the real origin of human fragility.

The Jeremy Everett’s practice investigates the way we see the world. It considers this approach the beginning of an exploration in search of the real story behind and rejecting one only style.

He is interested in the relation between the object, the space and its environment. It is the recurrent question of what lies behind what we see, and the notion of involving the viewer so he will be part of the artwork.

Fabio Lattanzi Antinori worked on this notion of the unseen by using very practical material, for example statistical

Fabio Lattanzi Antinori, collaboration with Sergey Dziniruk "Latency Docet", 2016 © ph. Kristin Hjellegjerge gallery, London

Fabio Lattanzi Antinori, collaboration with Sergey Dziniruk “Latency Docet”, 2016 © ph. Kristin Hjellegjerge gallery, London

figures of financial markets. His work focuses on how the languages of corporate systems inform the way we shape our communities and the actions we take towards our survival. At the root of this is the observation that financial data, although abstract and essentially ethereal, controls our resources and ultimately binds us together.

Fabio Lattanzi Antinori created a brand new sculpture, a multi-sensory experience exploring the financial practice of ‘front-running’ – trading on advance information provided by brokers. Whilst the work visually references the microwave towers used for the high-speed transmission of financial data, Lattanzi Antinori has teamed up with perfume designer Sergey Dziniruk to develop a range of fragrances that will be emitted by the sculpture. Lattanzi Antinori also presented ones of his interactive screenprints which translates financial data into tunes when touched by the viewer, giving musical expression to the desolate and heartless data. Here interesting was also the use an antidepressant replacing colour.

Jeremy Everett destabilised the architecture of the gallery with an installation of his ‘shims’: these immaculately folded white dress shirts were placed on the ground while the gallery’s central column was rebuilt on it, causing the structure to lean to one side. In this work, Everett explored associations of daily work and the uncertain structures that support it. He also presented a series of photographs exploring the theme of decay, where a partially obscured image is achieved by burying the print in the earth for a number of days.

For the Kristin Hjellegjerde Gallery exhibition, both artists, Everett and Lattanzi Antinori, showed a strong sense of dystopia. They uncovered the chaos and peril that lies only just behind the apparent order and control of our world. But as the title “No Not Never None” suggests, things are not quite as they seem, therefore, what it seems to be a dystopia might just be the true nature of the world according to these two artists.

The exhibition “No Not Never None” was at the Kristin Hjellegjerde Gallery, London, from 2nd September until 1st October 2016.

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