Condo London 2017

Multiple venues, 14 January – 11 February 2017

Oscar Murillo, Human Resources, 2016. Image Courtesy Carlos Ishikawa and the artist.

A circle of blank, wide-eyed faces stares at you, a wooden seating arena filling up the Carlos Ishikawa gallery peopled with puffy, scarecrow-like bodies. They have round, papier-mâché heads painted shades of brown and black with felt hair and eyebrows, most of them outfitted with rubber boots and factory uniforms. The living people sitting on the structure blended in, adding to a sense of unease, then one burly man sauntered in and began to sing in what sounded like a medley of love songs in Spanish. It was as if we had temporarily tuned into a faraway radio station. After a few minutes, he finished, muttered a small thank you, and left. Oscar Murillo’s installation Human Resources, 2016, is one of the highlights of ‘Condo’, if only simply because it is the biggest. As per the usual for the ‘socially engaged’ side of Murillo’s practice when he’s not painting, these figures have supposedly been made by people in his home town in Colombia, as apparent representations of themselves. At the centre of the room was a miniature Aztec ziggurat encircled by a crudely assembled roller coaster. ‘Azteca Ride’, letters on the side of Japanese artist Yutaka Sone’s untitled 2016 sculpture proclaim (brought by Tommy Simoens gallery of Antwerp); here, we were in a sort of South American amusement park, entertained by exotic workers and ancient history. The pairing of works might have been intended as a critique to such fetishisations, but it felt like more a joke at the artists’ expense.