Wire report
Don’t: Camille Henrot review – surreal sexual psychodrama for the digitally overwhelmed
The Perimeter, London Testicles have faces and a fox licks a phallus as the French artist mixes online anxiety, family life and saucy erotica in works charged with meaning Camille Henrot used to deal with the vast and unknowable. She used to ask the big questions. Who are we? Where do we come from? Why do we do what we do? Her 2014 show at the Chisenhale in London was about the origins of humanity and Darwinism, and her film Grosse Fatigue is about the creation of the universe. But in her latest work, the French artist has turned towards the introspective, the quiet, small and mundane. Here in this little private museum on a mews, the one-time winner of the Silver Lion at the Venice Biennale has done away with the hypercomplex, ultra-ambitious chaos of her installations and films. Instead, she has pared back, gone minimal and taken a long, hard look at herself. Continue reading...
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The Perimeter, London Testicles have faces and a fox licks a phallus as the French artist mixes online anxiety, family life and saucy erotica in works charged with meaning Camille Henrot used to deal with the vast and unknowable. She used to ask the big questions. Who are we? Where do we come from? Why do we do what we do? Her 2014 show at the Chisenhale in London was about the origins of humanity and Darwinism, and her film Grosse Fatigue is about the creation of the universe. But in her latest work, the French artist has turned towards the introspective, the quiet, small and mundane. Here in this little private museum on a mews, the one-time winner of the Silver Lion at the Venice Biennale has done away with the hypercomplex, ultra-ambitious chaos of her installations and films. Instead, she has pared back, gone minimal and taken a long, hard look at herself. Continue reading...
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According to The Guardian’s linked item, Don’t: Camille Henrot review – surreal sexual psychodrama for the digitally overwhelmed, The Perimeter, London Testicles have faces and a fox licks a phallus as the French artist mixes online anxiety, family life and saucy erotica in works charged with meaning Camille Henrot used to deal with the vast and unknowable. She used to ask the big questions. Who are we? Where do we come from? Why do we do what we do? Her 2014 show at the Chisenhale in London was about the origins of humanity and Darwinism, and her film Grosse Fatigue is about the creation of the universe. But in her latest work, the French artist has turned towards the introspective, the quiet, small and mundane. Here in this little private museum on a mews, the one-time winner of the Silver Lion at the Venice Biennale has done away with the hypercomplex, ultra-ambitious chaos of her installations and films. Instead, she has pared back, gone minimal and taken a long, hard look at herself. Continue reading…
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The development sits in VINI’s Culture coverage for readers following arts, entertainment, fashion, film, music, celebrity, and the business of culture. The original report is linked so readers can check the source account, follow later updates, and compare new coverage against the first published record. The linked item is dated 2026-05-29T12:34:07+00:00.
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Primary source: Don’t: Camille Henrot review – surreal sexual psychodrama for the digitally overwhelmed via The Guardian. VINI cites and links the source; it does not reproduce the publisher’s full article text without rights clearance.
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- Don’t: Camille Henrot review – surreal sexual psychodrama for the digitally overwhelmedThe Guardian - 2026-05-29T12:34:07+00:00
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