Press

Artist Lucy Skaer has curated this exhibition by three of her contemporaries and resists the temptation to include her own work in the show. Instead, she puts in a more interesting appearance as an actor in Anita Di Bianco’s Disaffection and Disaffectation. The 50 minute black and white projection is a reworking of a Jean Genet play dramatising the 1933 murder by the Papin sisters of their employer and her daughter. If this sounds like it might be heavy going, the understated performances make it very approachable. The irreconcilable relationships between the characters and the claustrophobic intimacy of the filming are as morbidly compelling as Big Brother, and a whole lot more intelligent.

Sophie Macpherson’s works operate very much as props, hints and allusions to performative events. The plain construction of objects such as Shoe Mould contradicts and highlights their uncanny purpose. We are privileged with access to the theatrical magician’s box of tricks, but we don’t have the instruction book.

It is harder to place Rosalind Nashashibi’s work within this continuum. Her upside-down images of cathedral interiors, their inverted stone arches swinging like heavy chains strung from the floor, seem to come from a different place.