Penny Slinger: Exorcism: Inside Out, Richard Saltoun Gallery review

The tag ‘feminist art’ is not one that generally appeals to me. But that’s not to say that I don’t seek out art by women. Generally, I tend to be disheartened by Tate exhibitions on the subject these days, as I find them too mired in angsty polemic. However, for those who prefer a healthy dose of wit with their feminist art, Richard Saltoun Gallery, a tidy space in the heart of Mayfair, is the place to go. Homing in on works by female artists from the 1960s, with a bent towards conceptual and performance pieces, the shows and curation at Richard Saltoun glint with contemporary relevance. The current exhibition, ‘Penny Slinger: Exorcism: Inside Out’, is one of them. Now in its final couple of weeks, there’s still time to see it.

‘Collage means for me, bringing pieces of reality into a new reality, shaking up the mundane world and allowing access to the inner world of fantasies and dreams,’ says the LA-based English artist of her chosen medium. Indeed, there’s a subversive humour in Penny Slinger’s work, and the fact that it tended to ruffle establishment feathers when she was first producing her collections in the mid-1970s (one of her books was burned by customs officials) only heightens it.

The Richard Saltoun Gallery exhibition marks the reissue of Slinger’s book, An Exorcism: A Photo Romance, an extended version of a previous edition that was banned in the UK when it was first published in 1977. Now, nearly 50 years, later, this installation seriously heightens the series’ performative roots with its immersive staging.