Unusually, the non-book choice – Martino Gamper at the Serpentine Sackler Gallery -- seemed to generate more chat. The thing about more pie and wine is that it tends to blunt the already meagre intellect a bit, so my attempts to articulate a coherent thesis on the contemporary intersection of design and art aesthetics, the progressive consumer fetishism of late capitalism, and the transmogrification of mundane mass production into art through the lens of a gallery context, was somewhat disordered. I think I bellowed something about Peter York when actually I meant Stephen Bayley. Disconcertingly, in the cold light of day, I still have nothing consistent or appealing to say on this topic. Luckily everyone else did. There was a lot of discussion (positive, admiring) of the shelving, and way the installations had been put together. Pebbles from a beach can be the most pleasing of possessions. These seem odd but increasingly prevalent little shows, these reflective, ‘conversations’ of exhibitions, but they seem to have an appeal in the dialogue they start with the viewer.
For some reason our artistic attention was then diverted to Mimosa Pale’s thought-provoking 2007 mobile female monument, ‘The Vagina Bike’. The Kensal Review is Candide-like in its adventuring across the entire arts map, and never let it be said we rest from searching out new frontiers. All that is very well, but let us cultivate our (lady) garden.