‘Gözde Mimiko Türkkan offers up 20 hypnotic, slightly crazed red-acrylic paintings of waves (all from 2025) that by turns look like contours on a map, the whorls of a fingerprint, energy waves or earthly strata, and come with titles ranging from Unknowable Waves # 8 (one of several titled similarly) and Feminist Waves, to Waves of oppression and Space debris and celestial bodies surfing the atmospheric waves of our planetary spheres (a vortex of hand-drawn concentric circles). It’s an obsessive body of work that collectively suggests that everything is the same and hovering on the edge of meaningfulness and meaninglessness. It’s a suggestion that echoes throughout the biennial, with a certain amount of bravery, given that it’s one that no museum marketing team would make. Even if the artists here do.’

https://artreview.com/15th-shanghai-biennale-does-the-flower-hear-the-bee-review-mark-rappolt