Toby Üpson

Toby Üpson is an art-writer currently based in London (UK)

CV 

text archive

2024

• [review] Amanda Ziemele, the Latvian Pavilion at the 60th Venice Biennale
• [review] Maxime Bichon, La poursuite [The chase]
• [poem] For a manifestation or, to be more allusive and precise: 18 – 0 / Bankside / HW & CO. with looks towards Felix and Ross
• [review] Ghislaine Leung, Holdings
• [review] Alexis Hunter: 10 Seconds

2023

• [book review] Ghislaine Leung Bosses
• [review] Matthias Groebel at DREI, Frieze London
• [review] Tomo Savić-Gecan, Untitled, 2023
• [review] Various Others Munich: a round up 
• [review] WangShui, Toleranzfenster [Window of Tolerance]
• [exhibtion text] Nay, her foot speaks
• [poem] Flower in the Wind
• [review] Grace Ndiritu in Belgium
• [review] Nari Ward, Balance Fountain
• [poem] Sea Skin, a poem as pamphlet
• [exhibition text] Diana Puntar, Historical Re-Anachronism, Ultima Romanus
• [review] Ghislaine Leung, Fountains
• [review] Iris Touliatou, Gift
• [essay] FRANK, an essay on ‘Swim Good‘

2022

• [essay] Yves, A Man Bottled, feature in Garageland 24: Biography
• [review] Close Encounters: “As you go… roads under your feet, towards the new future” Research Inquiry
• [review] Mahmoud Khaled, Fantasies On A Found Phone, Dedicated To The Man Who Lost It
• [review] Vladimir Nikolić, Serbian Pavilion, and Tomo Savić-Gecan, Croatian Pavilion, 59th Venice Biennale
• [review] Decolonial ecologies. Understanding Postcolonial after Socialism, Riga Art Space
• [review] Nebojša Yamasaki Vulkelic, Walking Within A Slow Future
• [exhibtion text] Soft Façade 
• [review] Cudelice Brazelton IV, Tensors
• [essay] Letter from Bor
• [exhibition text] Jakob Lena Knebl & Ashley Hans Scheirl, “Private” Parts!?
• [review] Lewis Brander, Vardaxoglou Gallery
• [review] Mark Ruwedel, Inland: Haunted by the Desert
• [2022] Allora & Calzadilla, Antille
• [poem] Rose in Seas
• [review] Venice Biennale 2022
• [review] Dominique Gonzalez-Foerster, Alienarium
• [review] Glenn Ligon, An Open Letter

2021

• [review] year in review
• [exhibition text] Abbas Zahedi, 11&1
• [review] Turner’s Modern World, Tate Britain
• [poem] 1 Blueberry leaf
• [review] Ugo Rondinone, Sadie Coles
• [poem] Two-a-m flash
• [essay] Adjacency in the collection

2020

• [reivew] year in review
• [review] Paul Housley, The Poets Elbow
• [creative text] A Man Reading (Saint Ivo?)
• [review] Lydia Blakeley, Classics
• [review] Toyin Ojih Odutola, A Countervailing Theory
• [essay] Learning From The Metabolic Museum-University: Theorising Dynamic Collections And Curation In English Museums
• [review] Danh Vo, White Cube

2019

• [review] year in review
• [review] Beatrice Gibson, Crone Music
• [review] Ghislaine Leung, Refracted in a pool of pink noise
• [review] Frieze Art Fair 2019
• [review] Signe Pierce, Digital Streams of an Unloadable Consciousness
• [book review] Calle Tredici Martiri (Alley of the Thirteen Martyrs)
• [review] Matthew Verdon, Vestigial Traits and Evolutionary Spandrels
• [review] The Dutch Pavilion at the 58th Venice Biennale
• [review] Brazil at the 58th Venice Biennale
• [review] Beggarstaffs, Fitzwilliam Museum Cambridge

2018

• [review] Pablo Bronstein, Cupid’s Caprice
• [review] André Hemer, The Cobra Effect
• [review] Sarah Sze, Afterimage
• [review] Dominique Gonzalez-Foerster, Intensite Assouvante
• [interview] Ilona Szalay
• [exhibtion text] A Raw-mess: Within
• [review] Anne Hardy at Maureen Paley