Rafal Zajko: Resuscitation - Review
Matthew McLean - Frieze
It being the first day I was told to work from home, I skipped the opening of Rafal Zajko’s ‘Resuscitation’ at Castor Projects – despite the proximity of the gallery from my flat. The Poland-born, UK-based artist’s show seems almost uncannily fitting for this moment: playing with ideas of culture, nature, threat and reinvention through the image of artificial respiration. Named for the biblical resurectee, a glass dome protruded from the wall mounted Lazarus (2020), periodically filling with vape fumes. The largest sculpture, Amber Chamber (2020), looked like an iron lung designed by Pierre Cardin, and housed a resting figure, surrounded by golden heads of wheat: like an ancient vegetation god become man-machine, air-sealed for an unknown future. In whatever ensues after lockdown, I resolve to make more effort with the local.... read more

Rafal Zajko: Resuscitation - Review
Laura O'Leary - This is tomorrow
At first glance, ‘Resuscitation’ appears as the set for a space-age laboratory in the form of a sculptural installation–we are clearly entering the future, with all the technological advancements that it brings. A large, vibrant orange tomb called ‘Amber Chamber’ (2020) takes centre stage, whilst other sculptures in bright, carefully considered colours are placed at varying levels around the room. Everything looks functional, clinically perfect almost–the words “don’t press the big red button” feel right at home here. The walls are dark green. Zajko lets me know that this colour is at once reminiscent of hospital scrubs, whilst also indicative of arsenic, referring to ideas of both healing and damaging in a binary act that recurs throughout this exhibition... read more

Habitual - Review
Chris Waywell - Time Out
In the spirit of new year, new you, Deptford’s Castor has done some spring cleaning, built a big plywood box and stuck a load of art in it. It’s like a giant plan chest tipped on its side. You pull out the drawers to display the works, a few at a time.

It’s a canny device, swerving the conventional, tired group show, where whoever shouts the loudest controls the room, and where you mentally calculate how much time you need to spend with any artist who isn’t your mate. It also makes you interact with the pieces in unusual, role-playing ways. If you’re the one pulling out the drawers, you’re put into the role of curator, doing the big reveal. If you’re sitting on the bench out front, you’re the critic or the collector...
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Habitual - Review
Sonja Teszler - This is tomorrow
... instead of a conventional commercial group exhibition, ‘Habitual’ unfolds within the theatrical setting of a compulsive collector’s storage solution. The exhibition text written by David Northedge is a humorous inner monologue of said collector (rich with tongue-in-cheek puns such as “I’d simply buy-curious”). It’s a manic confessional about his or her obsessive tendencies, comparing art collecting to a kind of infectious disease or addiction, while simultaneously serving as a clever and suggestive introduction of the specific works of art in the exhibition... read more