Curated by Nana Bahlmann, Seriously. is a group exhibition bringing together over a hundred works by more than 70 artists spanning photography, film, sound, and print.

Often regarded as deadpan, conceptual photography gets the reputation of being self-serious, overtly academic, and complex. In curating the exhibition at Sprüth Magers, Bahlmann counters this common perception through a framework grounded in humour and irony. Spread across four floors of the gallery’s seven-storey London building, the exhibition presents a compelling survey of predominantly photographic works dating from the late 1960s to the present.

*Seriously.*, exhibition view, Sprüth Magers, London, 2025. Photo courtesy: the author

Divided into thematic sections addressing self-portraiture, natural and man-made spaces as well as our relationship to them and everyday objects, Seriously. has a scope and density more readily associated with a museum exhibition than a commercial gallery show. Well-researched and rich in seminal works, the exhibition is notably extensive. Yet despite its length, it remains engaging and surprisingly playful, avoiding the dryness that such a comprehensive, scholarly presentation might risk. The selection of works and their witty installation guide the viewer through an artistic exploration that never feels paternalistic or excessively didactic.

Moving floor to floor, the exhibition sustains a consisted rhythm: each room is carefully balanced in the busyness of its installation, with photographs covering the walls in a way that feels warm and domestic. This sense of flow is also conveyed through the ongoing cross-referencing between the artworks on display, as artists slyly echo, mimic and parody one another. Exhibited alongside Cindy Sherman’s work is Aneta Grzeszykowska’s 2006 colour Untitled Film Stills: a restaging of Sherman’s iconic black-and-white series from the late ‘70s, which in turn toys with female stereotypes of 1950s and ‘60s cinema. A similarly playful example is Thomas Ruff’s Zeitungsfotos (Newspaper Photographs, 1981-1991)—reinterpretations of Peter Fischli and David Weiss’ Equilibres (1984–86). Jonathan Monk nods to Louise Lawler in his depiction of gallery spaces (LIGHTS OFF, AFTER HOURS, IN THE DARK |Lights off, after hours, in the dark, VIII, 2022) and the artist duo Bernd and Hilla Becher in Untitled (B&H three in one), 2022, whose work is also on view.

The exhibition came highly recommended by friends, but its density and careful curation exceeded expectations. Every room contained at least one artwork long familiar from study but never before encountered in person; in particular, it was exciting to finally see Fischli and Weiss’ The Way Things Go (1987/2017). The 30-minute colour video grew out of their earlier project Équilibres (A Quiet Afternoon) (1984–86), from which three photographs are also featured in the exhibition. Thanks to the postproduction fading between transitions, the video feels like a never-ending loop of an absurd chain reaction triggered by an invisible force. The piece, which required months of trial and error and determination, is incredibly fun and entertaining to watch, convincingly portraying a sequence that seems effortlessly spontaneous.

Peter Fischli David Weiss, *Flirtation, Love*, 1984. Gelatin silver print, 30 x 40 cm. Photo Courtesy: Sprüth Magers

Seriously. also featured several works by Louise Lawler. Among these, the piece that stood out most was Birdcalls (1972/1981), a seven-minute audio recording that greets visitors in the first room of the gallery. An early work, produced in an uncommon medium for her, it consists of Lawler rhythmically squawking, chirping, and twittering the names of 28 well-known male artists, transforming them into many birds’ calls—a bittersweet reminder of the patriarchal hegemony of men in the art world.

Another highlight was John Smith’s 1976 film The Girl Chewing Gum, an exquisitely funny 12-minute black-and-white video capturing a street corner in Hackney. The unbroken, objective shot is overlaid with the artist’s god-like narration, describing/commanding the actions unfolding before the camera. Through this wry commentary, the film cleverly interrogates cinematic codes, questions the credibility of the auteur, and playfully exposes the constructed nature of narratives and the exercise of power.

All in all, Seriously. impressed with its witty and thoughtful curation, the density and complexity of the works on display, and the playful intelligence of its installation. Though extensive, perhaps just a touch long, it remains engaging throughout, offering a richly rewarding experience that balances scholarship with humour and sophistication with approachability.

Seriously. is on view at Sprüth Magers, 7A Grafton Street, until 31 January 2026.

Elisa Consentino

Reviews Co-Editor, MADE IN BED

Seriously. @ Sprüth Magers

HOME

Seriously. @ Sprüth Magers

Guardians of Time: Jiang Qiong Er @ Waddington Custot

HOME