Deliquescence is the transition from solid to liquid—an agile word that dissolves on the tongue. It’s also the title of an exhibition at Jonathan Viner of works that chart the uneasy metamorphosis from digital image to three-dimensional thing, and how this contemporary transformation might be felt within a body. Oscar Tuazon’s large analog photograph of foliage captured in darkness has been mounted on a sizable sheet of aluminum and branded with a cross. Pamela Rosenkranz’s large Klein blue digital print has puckered under the weight of her own body. Nina Beier’s stock photos of coins dropping like aspirins in water are hung from trapezes, tethered at angles to the wall, their possible meanings (“oh no, crisis economy!,” “oh yes, make a wish!”) as pliant and flexible as their physical arrangement. Downstairs, Emily Wardill’s video traces the lines of a gymnast’s ribbon routine, the film’s grainy print giving way to unseemly digital effects as the ribbon’s line severs and crops the contours of her limbs. Berry Patten’s tropical ocean reef is framed by her laptop’s white plastic, with fake shells and painted sponges weirdly scattered on the keyboard, the picture’s foreground. In this windowless space, with its glazed blue antique tiles, an airless sense of the deep aquatic prevails. (Isobel Harbison)

Until July 29th at Jonathan Viner, London