[{"data":1,"prerenderedAt":370},["ShallowReactive",2],{"exhibition-you-re-only-happy":3},{"artistBio":4,"_id":57,"artistName":58,"dateTo":59,"showName":60,"dateFrom":61,"additionalTabs":62,"exhibitionText":211,"gallery":317,"slug":368},[5,25,33,49],{"style":6,"_key":7,"markDefs":8,"children":9,"_type":24},"normal","84bab8e08256",[],[10,15,20],{"marks":11,"text":12,"_key":13,"_type":14},[],"GREER LANKTON (1958-1996), born in Flint, Michigan, is recognised as one of the most significant artists of the revolutionary art scene of New York City’s East Village during the 1980s, known for her visceral doll sculpture, photography, and performances. She studied Fabrics at the Art Institute of Chicago (1975-1978) and received a BFA from Pratt Institute in Brooklyn in 1981. She relocated to Chicago in 1992 and notably participated in the 1995 Whitney Biennial in New York, followed by the presentation of her work at the Venice Biennial that same year. She is the first transgender artist ever to be exhibited at the National Gallery in Washington, D.C, the Metropolitan Museum of Art, the Whitney, and LACMA. Lankton’s works are included in significant private and public collections, including The Costume Institute at The Metropolitan Museum of Art, New York, NY, and The Art Institute of Chicago, Chicago, IL. ","b332dbe348c0","span",{"_type":14,"marks":16,"text":18,"_key":19},[17],"em","Greer Lankton’s participation in this exhibition has been made possible by Paul Monroe and the Greer Lankton Archives Museum (G.L.A.M.), to whom we extend our thanks.\n\n","4f359fa88952",{"_key":21,"_type":14,"marks":22,"text":23},"92523781155f",[],"J C. MCCORMACK (b. 1996, Barnsley, UK) is an artist and writer based in London. Their conceptual and sculptural practice works with abstraction as a form of methodology, shaped by theatrical and choreographed aesthetics. Reworking desire and histories into new meanings, the erotics and tensions of McCormack’s work unfold in small gestures, found objects, and textural materials that aim to draw the viewer into a mode of seduction and unease. They have previously exhibited at Kupfer, The Koppel Projects and Akademie der bildenden Künste Wien. Their writing has been published in TISSUE PAPERS #01: MAKING, and their work has been performed at the Bloomsbury Theatre, Hot Wheels London, Goldsmiths CCA, and the Whitechapel Gallery. They are studying at the Slade School of Fine Art.","block",{"markDefs":26,"children":27,"_type":24,"style":6,"_key":32},[],[28],{"marks":29,"text":30,"_key":31,"_type":14},[],"KI YOONG (b.1988, Bradford, UK) lives and works in London. Yoong’s paintings are marked by a quiet tenderness, underscored by his distinctive use of tightly cropped compositions. The removal of visual information opens space for projection, inviting the viewer to bring their own associations and memories into the process of looking. His works simultaneously explore portraiture and object-making. Rendered with meticulous detail, Yoong’s paintings are constructed from multiple translucent layers of oil paint, each applied with a fine brush in a process akin to drawing. Rather than bold, expressive brushstrokes, Yoong favours subtle accumulation and delicate gestures that coalesce into images that are at once precise and ephemeral. Yoong received his BA in Fine Art from the University of Leeds in 2010 and his MA in Fine Art from Central Saint Martins in 2013. His work has recently been shown at Kerlin Gallery, Dublin (2025); Workplace, London (2025); Hurst Contemporary, London (2024); Studio West, London (2024); MEGA Art Fair, Milan (2024); Plop Residency, London (2024); Slugtown, Newcastle (2023); Brooke Benington, London (2023); Marlborough Gallery, London (2023). ","6a01479bd727","9b6042695dd2",{"_type":24,"style":6,"_key":34,"markDefs":35,"children":36},"f8f2e6bb4149",[],[37,41,45],{"marks":38,"text":39,"_key":40,"_type":14},[],"OLIVER ELPHICK (b. 2000, Kent, UK) is an artist living and working in London. His practice explores nested realities, shifting identities, and overlapping layers of fiction. Drawing on methods of facade and impersonation, with a leaning towards appropriating iconic totems of camp, his work aims to illustrate the euphoric apocalypse. Mainly using writing as both a starting point for film work and drawings, the work is constantly fed back into a writing process, allowing meta-fictions, lore, and imagined worlds to appear. Elphick received his BA in Fine Art from Goldsmiths University in 2022 and was nominated for the Circa film prize in 2022 for his film ","2cce0be63a13",{"_key":42,"_type":14,"marks":43,"text":44},"74017a35dc4d",[17],"Pebbledash Decadence & Velveteen Secretion",{"_key":46,"_type":14,"marks":47,"text":48},"488b6c22b508",[],".",{"children":50,"_type":24,"style":6,"_key":55,"markDefs":56},[51],{"_key":52,"_type":14,"marks":53,"text":54},"1cbc150436f0",[],"TIINA VANHATUPA (b.1978, Finland) is a contemporary doll artist whose practice centres on the customisation and reworking of the popular Blythe Doll into singular, emotionally resonant sculptures. Rooted in the global community of doll artists, Tiina's work challenges conventions of value and authorship by elevating commercial readymades into unique collectable pieces. Her process is meticulous and deeply tactile, with factory features stripped away and reimagined through hand-painted details, rerooted hair, and bespoke costuming.","c70697054ae8",[],"82d5c258-ccd8-4aa5-8aef-960d455bf78a","Oliver Elphick, Greer Lankton, J C. McCormack, Tiina, Ki Yoong","2026-07-18","You're only happy when you can see something die!","2026-05-29",[63],{"tabTitle":64,"tabSlug":65,"content":68},"Moonlit Seduction Palette by Leo Costelloe",{"_type":66,"current":67},"slug","Moonlit-Seduction-Palette",[69,77,85,105,113,121,129,137,145,153,161,169,177,195,203],{"children":70,"_type":24,"style":6,"_key":75,"markDefs":76},[71],{"_type":14,"marks":72,"text":73,"_key":74},[],"Can you imagine yourself falling from a great height? What might play through your mind in those moments before you hit the Earth's surface? Can you see yourself, face turned towards the sky, plummeting towards the ground? Arms outstretched like an angel. You might even hover a moment before you die. You might float before the impact destroys you. And what will you think then? Right before you meet the world?","e85a5d232e92","9603496069ea",[],{"_key":78,"markDefs":79,"children":80,"_type":24,"style":6},"63db818227a8",[],[81],{"text":82,"_key":83,"_type":14,"marks":84},"The dulcet voice of Mikayla Nogueira rings through the speaker of my iPhone 15 Pro. \"The pigment is unreaaaal you guys\". I watch slender fingers dance across a Pat McGrath eye shadow palette. Manicured nails with silver stars press into iridescent powders, revealing their shimmer. My focus holds on her precise demonstration, each shimmer gliding across the surface of her poreless wrist. A Zara Larsson song beats through the speaker as I learn the name of each shade, dutifully committing them to memory.","a81a34e7e510",[],{"markDefs":86,"children":91,"_type":24,"style":6,"_key":104},[87],{"_key":88,"_type":89,"href":90},"c1983c26957d","link","https://www.lookfantastic.com/p/pat-mcgrath-labs-mothership-x-moonlit-seduction-palette/13951341/?affil=thggpsad&switchcurrency=GBP&shippingcountry=GB&affil=thggpsad&kwds=&thg_ppc_campaign=20538671985&adtype=pla&product_id=13951341&cq_src=google_ads&cq_cmp=20538671985&cq_con=&cq_term=&cq_med=pla&cq_plac=&cq_net=x&cq_plt=gp&gclsrc=aw.ds&gad_source=1&gad_campaignid=20538675780&gbraid=0AAAAAD-fXiqhfxXGK52Ys44QCGQV-GKTI&gclid=CjwKCAjw5ZXQBhBdEiwAI5XVWbEH6RaaS27Y7sNpllkTzjAFh75aqOnsVSjxCEBiIIjgBTa5iu0InxoCsDUQAvD_BwE",[92,96,100],{"marks":93,"text":94,"_key":95,"_type":14},[],"I flick out of TikTok and into a search engine. I type \"Pat McGrath\" into the search bar. My thumbs are frantic with desire and, before I've even finished typing, \"Pat McGrath Labs x moonlit seduction palette\" autofills ahead of me. I am directed to ","affbc557f1a8",{"_type":14,"marks":97,"text":98,"_key":99},[88],"LOOKFANTASTIC.com","2a472440c4ba",{"marks":101,"text":102,"_key":103,"_type":14},[],", where the eyeshadow palette appears before me in all its hard, shiny plastic glory.","f643ee9d32a2","4c5c9dc761cd",{"_key":106,"markDefs":107,"children":108,"_type":24,"style":6},"5876031d0cbf",[],[109],{"_key":110,"_type":14,"marks":111,"text":112},"44af1f644be7",[],"It will arrive within 24 hours.\nI quickly close the Google app, ashamed of this senseless purchase.",{"style":6,"_key":114,"markDefs":115,"children":116,"_type":24},"7b424634f33b",[],[117],{"text":118,"_key":119,"_type":14,"marks":120},"I sit in my house with the blonde Chihuahua. We cuddle on the sofa, and I contemplate dying. Dying before the eye shadow palette arrives. Who will feed the chihuahua if I die?","da4e023af902",[],{"_key":122,"markDefs":123,"children":124,"_type":24,"style":6},"0f7b036112fa",[],[125],{"marks":126,"text":127,"_key":128,"_type":14},[],"That night, I go to sleep naked under the bed sheets. The quiet hum of my one-room box apartment has settled into itself. I hold the chihuahua close to my chest. Both of us blonde and in bed. I think of Marilyn Monroe and how she, too, would have slept naked. She said once in an interview that the only thing she wore to bed was Chanel No. 5. Of course, this is just advertising. Everything is advertising. I wonder what brand of eyeshadow Marilyn Monroe wore? Probably one of those old cosmetic brands like Rimmel or something. I'm sure I could look it up. I reach for my phone.","31ddf530133e",{"markDefs":130,"children":131,"_type":24,"style":6,"_key":136},[],[132],{"_key":133,"_type":14,"marks":134,"text":135},"fbf6033e1955",[],"Elizabeth Arden.\nMakes sense.","6e0b7b75e0b7",{"markDefs":138,"children":139,"_type":24,"style":6,"_key":144},[],[140],{"_key":141,"_type":14,"marks":142,"text":143},"f6022c6e5c4d",[],"As I fall asleep, I think about Mikaela and the superior sparkle of the Pat McGrath eyeshadow palette I will surely have by sunset tomorrow.","be25a204cb70",{"_type":24,"style":6,"_key":146,"markDefs":147,"children":148},"d10861428d69",[],[149],{"marks":150,"text":151,"_key":152,"_type":14},[],"In the morning, I look at my phone and scroll six TikToks in quick succession. I receive a notification that my eyeshadow palette is on its way. Someone somewhere is thinking of me, packing my palette into a box and sending it out into the world. Acknowledging my desires and making my dreams come true. I can already picture myself swatching each shade on the back of my hand like Mikayla did. Showing my friends how intense the colours are. The superior pigmentation compared to your regular high-street brand. I smile to myself.","15fd50ad0a88",{"markDefs":154,"children":155,"_type":24,"style":6,"_key":160},[],[156],{"marks":157,"text":158,"_key":159,"_type":14},[],"In the afternoon, I place a vase of tulips on the windowsill. I open the window wide and let the sunlight dance around the porcelain-white tulip heads. It is German glass, I was assured by the antiques dealer when I bought the vase at auction. It looks like any other glass, but it was in fact blown by hand in Germany sometime around 1960. A German vase with tulips grown in Holland and flown to London for me to buy. I furtively push the glass vase closer to the window ledge until it teeters on the edge, then watch it disappear out the window of my little box apartment. I hear the impact, distant and ordinary. When I look down from the window ledge, I can just make out the whites of the flower heads amongst the smashed glass. The concrete of the pavement below is stained dark by the water. The tulips are still recognisable, strangely intact. Maybe they are free now? The box apartment feels bigger somehow.","af871e5779fa","763bf3e28945",{"_key":162,"markDefs":163,"children":164,"_type":24,"style":6},"ebd809c933fa",[],[165],{"marks":166,"text":167,"_key":168,"_type":14},[],"The vase was older than I am. It was in its late 60s, maybe 65? 66? The tulips were only a few weeks old. There's a strange imbalance in that thought. The vase that held the tulips was decades old, and the flowers, by comparison, very, very young. Bright and brief. I wonder how old my eye shadow palette is.","08b1f1baaf87",{"_type":24,"style":6,"_key":170,"markDefs":171,"children":172},"9791b07b6420",[],[173],{"_key":174,"_type":14,"marks":175,"text":176},"983e43068469",[],"I hover my head out the window and stare for a while at the tulips and the broken glass. The tulips are splayed out, their stems crisscrossing like showgirls’ legs during a can-can, platinum heads like wilting updos. The shattered glass across their rubbery leaves sparkles like the beaded trim of a WCC leotard. I imagine them dancing, high kicks in the air. Everything is caught in a single choreographed moment of collapse and decoration.",{"_type":24,"style":6,"_key":178,"markDefs":179,"children":182},"cd1cf9c45546",[180],{"href":90,"_key":181,"_type":89},"be8506da63e5",[183,187,191],{"text":184,"_key":185,"_type":14,"marks":186},"From above, I see the bright red hat of a DPD driver. He carries a parcel shrouded in plastic, the words ","f5c4979ac45c",[],{"_key":188,"_type":14,"marks":189,"text":190},"838ec4628ca9",[181],"LOOKFANTASTIC.COM",{"_key":192,"_type":14,"marks":193,"text":194},"27def0fa8a95",[]," pressed across it. I watch as he steps over the tulips and presses my door code into the keypad.",{"children":196,"_type":24,"style":6,"_key":201,"markDefs":202},[197],{"_key":198,"_type":14,"marks":199,"text":200},"f6d776e5df67",[],"It has arrived.","596a54adaa69",[],{"markDefs":204,"children":205,"_type":24,"style":6,"_key":210},[],[206],{"_type":14,"marks":207,"text":208,"_key":209},[],"I remove the plastic packaging and gently slide the glossy black casket from its box. I think about how these powders will outlive me, how the tiny, shimmering microplastics in each pan will exist well beyond their application. How they’ll be suspended in oceans, trapped in soil, woven invisibly through rain and dust and blood. How they’ll spill out into the atmosphere and sparkle forever, shimmering longer than any star or sunbeam. The eyeshadow will never die, it will exist long after my body has rotted away. A makeup stain on the face of the Earth.","880ef7d1f81d","aa75cf733417",[212,227,235,259,267,283,291,299],{"children":213,"_type":24,"style":6,"_key":225,"markDefs":226},[214,218,221],{"_key":215,"_type":14,"marks":216,"text":217},"53ecc8fd2cbe",[],"NEVEN presents ",{"text":60,"_key":219,"_type":14,"marks":220},"168a8fa5cda9",[17],{"_type":14,"marks":222,"text":223,"_key":224},[],"*, a group exhibition curated by artist Leo Costelloe, featuring works by Greer Lankton, Ki Yoong, J C. McCormack, Oliver Elphick and Tiina.","8bd7997ff1a4","e0cee8c8218e",[],{"markDefs":228,"children":229,"_type":24,"style":6,"_key":234},[],[230],{"_type":14,"marks":231,"text":232,"_key":233},[],"In J C. McCormack’s sculptural installation, a vase of plastic-shrouded silk tulips and peonies sits encased before vertically hung Venetian blinds. The piece draws from a windowsill that the artist spotted on a walk in East London, curiously decorated with artificial flowers wrapped in plastic, a domestic display at once intimate and inaccessible, considered yet not fully avowed. Incorporating 1950s GDR silk flowers and a 1960s Lauscha glass vase, McCormack’s installation draws on remnants of decorative life shaped under conditions of political oppression and scarcity. Sealed against time or damage, the floral display is, by that same gesture, rendered inert and dormant. The work’s theatrical staging, evidenced by the silk flowers, visible stage lights, and fake dust, foregrounds notions of artifice, pointing to the instability between exterior appearance and interior reality.","15ae9937b6c2","10dc322ddfe1",{"children":236,"_type":24,"style":6,"_key":257,"markDefs":258},[237,241,245,249,253],{"_key":238,"_type":14,"marks":239,"text":240},"51c58143965e",[],"This kind of simulacral uncanny between the animate and the artificial is arguably no better exemplified than by the doll. Greer Lankton was a pioneering American artist whose practice centred on handmade fabric, wire and papier-mâché dolls, which she animated and photographed in witty, glamorous, and at times grotesque tableaus. The work drew directly from her own life, navigating her transfeminine identity, and frequently depicted both fictive and real characters from her East Village social orbit in the 1980s. Cookie Puss, Ellen and Elvira in ",{"text":242,"_key":243,"_type":14,"marks":244},"Valentine’s Day","75c3077c5aed",[17],{"_type":14,"marks":246,"text":247,"_key":248},[]," (1984) emerge from Lankton’s imagination, while Candy in ","741b75635022",{"text":250,"_key":251,"_type":14,"marks":252},"Candy and Mark","96dd93ae861b",[17],{"marks":254,"text":255,"_key":256,"_type":14},[]," (1985) imagines Warhol superstar Candy Darling, who had passed away a decade prior, creating a layered form of mediation in which an already mythologised life is further staged, preserved, and transformed. Lankton plays with her characters both as subjects and as afterimages, foregrounding the performance, staging and identity construction inherent to playing with dolls.","5ff5d162f354","0ddaf3eb31b6",[],{"_key":260,"markDefs":261,"children":262,"_type":24,"style":6},"4b5ca46b179a",[],[263],{"marks":264,"text":265,"_key":266,"_type":14},[],"Cult and dissemination are key to understanding Finnish doll customiser Tiina Vanhatupa’s Blythe dolls, which operate within a culture and economy of fetishised collectibility and commodity-driven desire. Blythe dolls, originally produced in the early 1970s and later revived in Japan, have developed a fervent global following, particularly within a niche culture of customisation, where artists transform mass-produced dolls into unique, highly individualised figures through carving, hand-painting, and re-rooting hair. Rarity, craftsmanship and distinct aesthetic signatures drive intense demand, with certain makers achieving near-mythic status. Tiina is widely regarded as a leading figure in this field; her works are highly sought after for their precision, creativity, and ability to elevate the doll from a collectable object to a singular art piece.","3a82b1bd42d5",{"_type":24,"style":6,"_key":268,"markDefs":269,"children":270},"2281be17a8ae",[],[271,275,279],{"_type":14,"marks":272,"text":273,"_key":274},[],"Also addressing desire and circulation, Ki Yoong’s portrait of Marilyn Monroe distils one of the most recognisable images of twentieth-century beauty into an object of extreme concentration. At a miniature scale yet instantly recognisable, the work foregrounds the ways in which Monroe’s image has been endlessly reproduced, compressed, and consumed. Yoong paints from a 1960 photograph of Monroe, taken by Eve Arnold on the set of ","7b5fa75c127b",{"text":276,"_key":277,"_type":14,"marks":278},"The Misfits","03fa4d4601cc",[17],{"text":280,"_key":281,"_type":14,"marks":282}," (1961, dir. John Huston) in Reno, Nevada. Monroe’s character in the film, Roslyn Taber, would be her last fully realised performance. The role was written for Monroe by her then-husband, Arthur Miller, and is often regarded as closest to her off-screen self and, by extension, her most psychologically revealing. What we encounter is not simply Roslyn Taber, but Monroe performing Monroe, performing Roslyn Taber. This adds a further layer of complexity, as Monroe performs a persona shaped by her own, collapsing distinctions between actress and character. The work draws attention to this recursive construction, in which identity is staged, replayed, and ultimately petrified through its own repetition.","f0cab7b5a757",[],{"style":6,"_key":284,"markDefs":285,"children":286,"_type":24},"50972cc77689",[],[287],{"_type":14,"marks":288,"text":289,"_key":290},[],"Like the legacies of Greer Lankton’s subjects, Monroe’s image became sealed and mythologised through untimely tragedy, preserved against time while fixed in a state of perpetual projection, not unlike McCormack’s taffeta tulips encased in plastic. Oliver Elphick’s drawing of beauty queens dancing in a burning mine similarly collapses glamour into spectacular catastrophe, the line of bodies caught mid-performance within a moment of impending destruction. Developed through research into Svalbard, the remote Arctic archipelago shaped by histories of mining, extraction and climate anxiety, Elphick’s work imagines a Doomsday beauty pageant in a flaming Longyearbyen coal mine, its contestants suspended between pre-apocalyptic performance and impending extinction.","66333f59e34c",{"_type":24,"style":6,"_key":292,"markDefs":293,"children":294},"98da51e48de4",[],[295],{"_type":14,"marks":296,"text":297,"_key":298},[],"Across the exhibition, images are held in states of suspension: sealed, staged, petrified or preserved against disappearance, yet rendered inert through the same gesture. What emerges is a distinctly phantasmatic space, populated by uncanny likenesses, afterimages, and projected forms, mimicking life, yet invariably not animated by it.","faa1eddbba3b",{"_type":24,"style":6,"_key":300,"markDefs":301,"children":302},"57693c875ea6",[],[303,307,311,314],{"marks":304,"text":305,"_key":306,"_type":14},[],"*","5c19611dfa22",{"text":308,"_key":309,"_type":14,"marks":310},"Line spoken by Marilyn Monroe’s character, Roslyn Taber, to Clark Gable’s character, Gay Langland, in the 1961 film ","3b87121b02db",[17],{"text":276,"_key":312,"_type":14,"marks":313},"34a0b5356ac7",[],{"_type":14,"marks":315,"text":48,"_key":316},[17],"81b2ba000cdb",[318,322,326,329,332,336,340,343,347,350,353,357,361,364],{"caption":319,"asset":320},"Installation view",{"_ref":321},"image-b2f11d289b6e8cffc761b29d79a715c22d5bc197-3600x2400-jpg",{"asset":323,"caption":325},{"_ref":324},"image-8b3b8977d188dcffe71f6892ea4d0c7edaf860c6-2400x3600-jpg","Ki Yoong, Marilyn (Roslyn, Red), 2026",{"asset":327,"caption":325},{"_ref":328},"image-96427bb9fa76db44d26f4b37932da02911f51c38-2401x3600-jpg",{"asset":330,"caption":319},{"_ref":331},"image-5b20ecbde5a6e23323e4eacc5f572f10b05fc514-2400x3600-jpg",{"asset":333,"caption":335},{"_ref":334},"image-353685dac0ebe17401be208bc72a4f03eaecba83-3600x2400-jpg","J C. McCormack, Window scene (mediation for the external viewer), 2026",{"caption":337,"asset":338},"J C. McCormack, Window scene (mediation for the external viewer), 2026 (detail)",{"_ref":339},"image-f9a11695cb3bca6ef65608d29a4770dcd85eda1a-3600x2400-jpg",{"asset":341,"caption":319},{"_ref":342},"image-46ae33c106b2264da7ae68029fd38dd9d29879a2-3600x2400-jpg",{"caption":344,"asset":345},"Greer Lankton, Candy and Mark, 1985",{"_ref":346},"image-3d35310b1a26d76fe4303d4e10d47d7e5e470cca-2399x3600-jpg",{"caption":344,"asset":348},{"_ref":349},"image-921e532bcea59b080c05dd0d520e12fab386dbae-2400x3600-jpg",{"asset":351,"caption":319},{"_ref":352},"image-9a7d26cf6f18fc8a5cbfb03343265b2017a63365-3600x2400-jpg",{"caption":354,"asset":355},"Greer Lankton, Valentine’s Day, 1984",{"_ref":356},"image-9d7039d1a7458f57176335a80a61b841f45fc96d-3600x2400-jpg",{"asset":358,"caption":360},{"_ref":359},"image-0437597595a3e5226e0714b0e57abcc7330daf77-3600x2400-jpg","Oliver Elphick, Mine Fire, 2022",{"asset":362,"caption":319},{"_ref":363},"image-d1be900281b166b358026751b0756e4470d28d06-3600x2400-jpg",{"asset":365,"caption":367},{"_ref":366},"image-d9ebdc4b89f380ed6132111e8dd2de76f26ddef3-3600x2400-jpg","Tiina, Haki, 2026",{"_type":66,"current":369},"you-re-only-happy",1780060945446]