Friday, 7 May 2010

The Future of UK Politics


Politics The LidDems should not coalition with the Tories as the Tories won't seriously offer them any real chance of PR (it would be electoral suicide for them to do so). Instead the Libdems will agree to back them over the Queens speech and budget to allow the Tories to govern. This will allow the LibDems to remain untainted by the savage cuts the Tories will make. Meanwhile Labour under Alan Johnson will be revitalised and discover their radical sense of purpose. After a couple of years of Tory cuts as a minority Government the Tory government will fall allowing the emergence of a centre left coalition who will introduce PR resulting in the Conservatives being denied forever the chance to govern the country again.

Update** A week Tory government relying on the LibDems to keep it in power is by far the best outcome we could have realistically hoped for but Clegg has made a mistake entering a formal coalition and accepting cabinet posts as the LibDems will now be tarred with association with the cuts that are coming so will probably get annihilated at the next general election that won't be far away.

Wednesday, 24 March 2010

Britney Spears: Toxic (westlake72 Remix)

Here is a dub remix I have done for the Britney Spears track Toxic synced with the original video.

Sunday, 7 March 2010

Live at the Lotus Lounge



Music The latest edition of my podcast is now available to stream or download. This a live set featuring myself and New York's legendary DJ Sims (Sarah Sims Erwin) live at the Lotus Lounge NYC circa 2003. It starts with about half an hour of chilled-out Street Soul from myself followed by an eclectic mixture of Gangster Rap, Latino flavoured Jazz, and Loungecore from Sims before I come back with some Dancehall and Classic Jazz-Funk. Enjoy... Live at the Lotus

Some brief notes on Time


Time: the socio-political
The ways we have marked out time, from the obelisks of ancient Egypt and Babylon to the atomic super-clocks being developed today that are said to be more accurate than time itself, the socio-economic system in place and the way human beings experience time have always remained inter-linked. It is perhaps not surprising that slave based societies such as the ancient Egyptians, owing their power to the systemization of social relations enabled by the development of mathematics, also appear to be the first societies to deploy time keeping devices. In the middle ages where man’s still relatively direct relationship to the land meant that the seasons and weathers fluctuations informed his working patterns, the micro-management of time was unnecessary. But as feudalism began to be replaced by capitalism during the Renaissance our relationship with time started to shift. In 1584 Pope Gregory XIII introduced the Gregorian calendar that we use today propagating the centralization of papal power. Somewhat ironically Rome had been systematically replacing the God given circadian time as churches were turned into giant sundials by the drilling of a hole in its roof in order to predict the arrival of Easter. When the Gregorian calendar was finally adopted in England in 1752, in order to catch up with this now standardized European calendar from which it was lagging behind, Wednesday September the 2nd was immediately followed by Thursday September the 14th. This apparently resulted in widespread riots by angry mobs chanting ‘Give us our eleven days back!’.

The political nature of time was made explicit in revolutionary France when gunshots were fired at town hall clocks to mark a radical break from history. French Revolutionary Time was subsequently introduced where, in the enlightenment spirit of obsessive rationalization, the 24 hour clock was replaced with a decimalized system dividing the day into 10 decimal parts each of these 10 parts were divided into ten others and so on, so the hundredth part of the hour is the decimal minute and the hundredth part of the minute was the decimal second. With the emergence of globalized trading, precise time keeping for navigation became a priority. As a ships position at sea could only be determined with accuracy if a navigator could refer to an accurate clock, the then standard pendulum-based clocks originally conceived by Galileo were unsuitable for the task. In 1714 after the loss of numerous cargos (and lives) the British government offered twenty thousand pounds to whoever built a clock that would keep accurate time at sea. A young man took up the challenge by the name of John Harrison, a carpenter at the time, who on hearing of the competition dedicated his life to this quest and eventually succeeded at his 4th attempt. The government originally refused to pay up, but, after the intervention on his behalf by King George, Harrison eventually received his payment at the age of 79, becoming a multi-millionaire in today’s money.

The phrase time is money represents the commodification of time as an object to be exploited in the accumulation of greater capital, and it was capitalisms transformation during the industrial revolution that brought about the now normative adherence to clock-time we observe today, as a synchronic form of time and work discipline was imposed on workers. Up until the 19 Century British cities ran to local solar time and it was only with the introduction of the electric telegraph that enabled the imposition of a standardized single time zone (GMT) that industrialists demanded despite much local opposition. The emerging power and influence of rail companies such as the Great Western Railway sped up the rationalization and standardization of time to increase the efficient distribution of goods and materials. To placate local objections many cities ran, for a period, a dual time system. The clock at the Exchange in Bristol for instance, which is ten minutes behind London Time (or London is 10 minutes ahead of Bristol), still features two minute hands: one showing GMT the other Bristol Time.

A hyper-rationalization of time management was developed by Frederick Winslow Taylor In 1911 reaching its apex in the industrial mass production methods of the Ford motor company in Detroit. It involved scientific analysis of the time/productivity relationship in pursuit of the maximization of profits e.g. the screwing of a single bolt being calculated at 15.2 seconds. Capitalisms other has a less historically linear relationship with time. The Soviet Union fetishized production as much as America and adopted an equally technological view of time. Aleksei Gastev, an avant-garde poet who wrote futurist prose eulogizing industrialization and the coming era of the new man, advocated Taylerism through ‘the movement for the scientific organization of labour’, or NOT (nauchnaia organization truda), which he described as his last artwork. These ideas, imported from capitalist America, underpinned the Soviet commodification of time epitomized by Stalins 5-year plans 1928 and 1932. Unfortunately for Gastev his own time ran out in 1938 when he was arrested on false charges of counter-revolutionary terrorist activity and shot by the KGB, and as Heidegger and others have observed death is the limit point of our social temporality.

Year Zero was declared by Pol Pot when his Khmer Rouge completed their take over of Cambodia in 1975. It was George Orwell who observed Those who control the present, control the past and those who control the past control the future. Here, a pre-industrial agrarian utopia was founded where history not only ended but ceased to exist and time stood still. Cities were forcibly emptied as the entire population was made to farm the land in organized labour camps and any expression of nostalgia for pre-revolutionary times was referred to as memory sickness and could lead to execution. This anti-technological state existed as the antitheses of the Soviet/American view of time as a site of progress – here you would be killed for simply owning a wristwatch. When the regimes rule ended, after eight months and 20 days, one quarter of the country’s entire population of about seven million were dead.

Re-posted from Time: a group exhibtion

Saturday, 13 February 2010

Time: A Group Exhibition



I am curating a group exhibition featuring 11 artists exploring the nature of Time from a variety of perspectives including the social, philosophical and scientific. Utilising a variety of strategies and media including interactive software, sculpture, digital print, performance, sound and text this exhibition will feature new works by:

Paul Abbott
Kate Barsby
Josh Baum
Peter Caul
Stephanie Dickinson
Tracy Gentles
Alan Jones
Carlos Monleon Gendall
Beatrice Loft Schulz
Emily Paige Short
Dan Westlake

Private View
6:00pm - 8:30pm Friday 19th of February
Exhibition open daily from 11am - 5pm
20th until the 26th February

We Are Arts Gallery, First Floor Red Lion Square
Central Saint Martins College of Art and Design
Southampton Row, WC1B 4AP

Saturday, 16 January 2010

Funky Good Times!



I've uploaded a new podcaste: a funky Rare groove mix I took out to New York on one of my DJing trips in the early 2000's. The pic I took at block party I played at during one of those trips, Good times indeed, nostalgic sigh...

I am participating in Some You Win, Some Deleuze a group show by a selection of MA Fine Art students at Central Saint Martins College of Art & Design. It is the culmination of a month long project, ArtSpace 2010, which saw this group utilise Collective, a former industrial space on Camden High Street provided by Camden Council and Camden Town Unlimited, as open studios, information hub and live art venue. The show will also be featuring new work Paul Abbott, Carolina Ambida, Kate Barsby, Fagner Bibiano, Omar Castaneda, Coral Churchill, Pallas Citroen, Andrea Giulivi, Catherine Hieatt, Autumn Marlayne Jensen, Iyvone Khoo, Tom Mason, Georgina McNamara, Ben O'Connor, Eilidh Short, Helene Sorensen, Ben Turner, Melania Yerka. The Private View for this exhibition is Friday 22nd of January, 6pm - 9pm and the exhibition continues 23rd - 29th of January, opening daily 11am-5pm. The adress is 'Collective', 37 Camden High Street (Entrance on Symes Mews), NW1 7JE

Friday, 27 November 2009

Roland Bathes: The Death of the Author


The last line of Bathes text is 'the birth of the reader must be at the cost of the death of the Author' and it is the reader referred to in the first half of this sentence that this essay really focuses on NOT a call for the annihilation of the author referenced in the second (French theorist tend to utilise bombastic leading statements to grab the readers attention and shock them out of complacent common sense readings i.e ‘The Gulf War Did not Take Place’ Jean Baudrillard or ‘There is nothing outside the text’ Jaques Derrida). Having said that it is not difficult to see why a flamboyant celebrity theorist such a Barthes would promote the role of interpreter over the role of producer. When published in 1968 the standard academic approach to literature in French academia at the time was based on the presupposition that there was a real, singlar, and fixed meaning to a piece of literature and that this singular meaning was the one intended by an author who was fully conscious of this meaning and his (it was usually a ‘his’) reasons for producing such meaning. It was the readers role simply to unearth what this meaning was. To destabilize the above can be seen as a radical gesture given the time and context (though it had been somewhat predated in less ostentatius terms by Wimsatt and Beardsley’s essay ‘The Intentional Fallacy’ published in the United States in 1946). Barthes key points are:

• The idea of authorship is inherently unstable (a text always appropriates previous texts)
• The idea of an author is inherently unstable (the 'self' is a site of permanent flux)
• Authorial intentionality does not define meaning
• An authors personal history is not the key to understanding a text
• The
re is not a fixed true meaning hidden in a text waiting to be discovered
• The reader is the ultimate arbiter of meaning

These central ideas espoused by Barthes during this period were a general feature of all post-structuralist critique and were actually pushed further by Derrida. The idea that a texts meaning is never entirely fixed so is therefore open to multiple readings was not just a comment on authorship but ultimately an anti-theological attack on the idea of authority (author-ity) itself (this position can be traced back to Nietzsche’s
Death of God and is part of the general distrust towards meta-narratives that came to be known as post-modernism following the carnage of the second world war. This in turn lead to the vulnerability of theory to the charge of the type of nihilism and moral relativism that has lead to the emergence of religious fundamentalism). This position was the critical orthodoxy of the day by the 1980’s with the rise of critical theory and cultural studies in both Anglo-American academia and contemporary art discourse. It was then fashionable to dismiss the idea of universal values as hegemonic often leading to simplistic declerations such as ‘there is no such thing as truth’ and knee-jerk dismissals of any actual position being take as being authoritarian or even totalitarian. This line of argument taken to its absurd yet logical conclusion views the espousal of human rights as an act of fascism!


By the 90's in the context of contemporary fine art practice positions that challenged these assumptions became of interest whereby the simple restatement of these assumptions themselves was not. One of the reasons curator/critic Nicholas Bourriaud, for instance, rose to prominence was that at the time of writing the essays they came to be published as Relational Aesthetics in the 1990’s contemporary art had reached a point of postmodern inertia therefore it was seen as a refreshingly radical act to be taking an ideological position by promoting work that had a social (and unapologetic) agenda. Theory itself also began to look at a returned to direct political engagement and a return to universal or even transcendental values in the works of, for instance,
Badiou, Zizek and late Derrida. The artworks that have provoked the most passionate and engaged critical engagement in the last 15 years or so are works that contain a level of explicit social intentionality with various degrees of tension between the polarities of didacticism and openness. Artist who have produced such committed pieces include Jeremy Deller, Santiago Sierra, and Mark Wallinger all of whom have not been afraid to take a position (though this does not necessarily negate a level of ambiguity or even ambivalence in the works) and artist-writers such as Liam Gillick, Dave Beech have to a degree wrestled the agenda from non-practicng critics and theorist with practices that demonstrate a reflective awareness, socio-political engagement and an embracement of authorial responsibility. The days of Marcel Duchamp’s dumb painter are over.


PS.This text has been appropriated and re-posted at the Madame Pickwick Art Blog without attribution to me - how ironic…

Wednesday, 29 July 2009

Abam Curtis: It Felt Like A Kiss


I found Adam Curtis's new work incredibly disappointing. Unlike with all Curtis's previous works I did not learn anything new of significance. This was essentially a series of now bland a clichéd infobites such as that the CIA tried to kill Castro with an exploding cigar, Rock Hudson was Gay, and Sadam Hussein was backed by America. If any of this was news to you you must have been hiding under a rock for the past 20 years. There where a few interesting titbits such as a Sadam Hussein propaganda film that glorified his roll in Bathist take over of Iraq being edited by Terence Young the director of a couple of the James Bond movies but so what? There was also some good archive clips such as a Vietnam vet confessing to American war crimes but this film had nothing of great interest to say other than that the utopian vision America presented of itself in the post-war years wasn't all it seemed and that America's covert foreign policy saw the CIA get up no good but this is hardly front page news. While a shorter version of this film was shown as part of an installation at the recent Manchester International Festival and that as a visceral experience it may have worked entirely differently in that context Curtis has specifically chosen to release (and re-cut) this version online and it fails completely to live up too previous works such as The Power of Nightmares, The Trap and, his most important work, the amazing The Century of the Self. All of these are widely available online and in providing socio-political histories of the 20th century they allow us to see just how we got to where we are today. The original Reithian remit of the BBC was to educate, inform and entertain: these three works do this.



Sunday, 26 July 2009

Jeff Koons at the Serpentine



What I enjoy with Koons is his ability to continuously reside on the razors edge of celebration/critique of the banalities of capitalism and how by making his products so sickly (and slickly) sweet and attractive he implicates the viewer (or at least this viewer). He does so with such bold and unapologetic, American, bright eyed, can-do, optimism contrasted to the that grim icon of greed and stupidity that can be said to be, at least to some extent, our British equivalent. It would be a mistake to view Koons' artworks as existing separately from Koons *The Artist* persona as he embodies the great tradition of artist as charlatan/showman/shaman/genius(?) (Duchamp, Dali, Klein, Manzoni, Creed et al) that imbues all his product(ions). I particularly like the doubt brought forth by the genius/charlatan opposition at play as it destabilises the the very concept of genius which I feel is an unhealthy one. It would appear that in art this role emerged with modernity and the 'Death of Painting' in the age of mechanical reproduction. This *tradition* was previously embodied by scientists in the 18 century (think of 'An Experiment on a Bird in the Air Pump' by Joseph Wright of Derby) and previous to that medicine men, witch doctors and the like. In art at least this charlatan/showman/shamen proves his 'genius' when in an the ultimate act of alchemy he (and it is always a he) turns shit in to gold (or at least dollar) exposing the absurd farce that is late Capitalism.



Monday, 13 July 2009

Santiago Sierra


'In societies dominated by modern conditions of production, life is presented as an immense accumulation of spectacles' said Guy Debord in Society of the Spectacle (1967). With scenes in Sacha Baron Cohen's new film including a realty show judge using a Mexican person as seating and one of Michael Jackson's sisters eating sushi off the naked bodies of workmen we have evidence, if it were ever needed, of how all art however 'critical' eventually gets co-opted by advanced capitalism into mainstream entertainment and sold back to the masses. By choosing Mexican workers Cohen appears to be acknowledging his appropriation of previous works by the Mexican based artist Santiago Sierra where the low paid are humiliated for money - reflecting back to the generally comfortable (Bourgeois???) middle class viewers of artworks the essence of Capitalism - where human beings become commodified objects and like all objects have their price.

Thursday, 2 July 2009

On Beauty


I recently attended a talk at the Whitechapel Gallery featuring Dave Beech in conversation with Julian Stallabrass to launch 'On Beauty' a new anthology of writings on the subject edited by Beech. From the conversation it appeared that the conception of *beauty* under discussion was that which is considered visually pleasing/attractive/uplifting (or not as the case(s) may be) so the framing of the discussion appeared to privilege an ocularcentric perspective from the get go. I wondered if the conversation could have been directly transposed to the sonic field or for that matter the olfactory, gustatory or somesthetic? Or how about the beauty of a mathematical equation or friendship? This may have thrown light on the subjective/socially inscribed conundrum. Stallenbraus observed that a lot of writing on beauty is 'bullshit' if so I feel this may be due to the ineffable nature of the subject, maybe talking of beauty is much like describing the nature of God or explaining why a joke is funny. Maybe the real problem with beauty in art is that though we may enjoy it (a work made to be deliberately beautiful), and there is nothing wrong with that, it may ultimately be a distraction/hindrance to the experience of beauty as it perpetuates the idea that beauty is contained in 'things' and that these things exist outside of us.


Wednesday, 29 April 2009

Dub and NYC



Just finished reading Michael E Veal's fantastic Dub: Soundscapes & Shattered Songs in Jamaican Reggae. What is so impressive is how many perspectives Veal manages to approach the subject from in such a relatively short space (338pp) i.e the social, political, aesthetic, technical, religious, historical, economic and cultural. Along the way contextualising dub in relation to the theories of, among others, Jameson, Deleuze & Barthes. Among the most interesting ideas Veal suggests are dub's fragmented narratives as a response to the collective Post-Traumatic Stress Disorder of the African diaspora and dub's privileging of space and absence providing a meditative insight into the divine. I particularly enjoyed the comparison between dub and classical Japanese music by way of wabi-sabi and Zen Buddhism. This may all make the book appear rather dry and academic and though it is certainly is both academic and scholarly in the best sense of the terms it is also clearly written by a fan and enthusiast (also in the best sense of the terms) meaning that as well as being intellectual and thorough it is always interesting and engaging. Along with the theories and histories of dub and it's influence on other genres you get the low-down on all the leading players such as King Tubby, Prince Jammy and Lee 'Scratch' Perry. My only criticism is an underplaying of the Jamaican/NYC connection. I don't feel it is an exaggeration to state that the birth of Hip Hop resulted directly from the recontextualization of the Jamaican Dub format - outdoor Sound System, DJ Toasting (Rapping) and the stripping down of records to their essential of drum and bass elements - to NYC and applied to funk as opposed to reggae by Jamaican emerge Kool DJ Herc in the late 70's. House and garage (emerging form Chicago as well as NYC) where also born of stripping down to the essentials of drum and bass of, in this case, disco records. Francois Kevorkian has attributed Larry Levan, resident of the legendary Paradise Garage, of bringing the dub sensibility to disco. If you listen to the early raw house and garage 45s by the likes of Adonis (Marshall Jefferson), Raze and Phuture at 33rpm what you hear is essentially electro dub reggae - flying symbol and all. By underplaying this vital connection I feel dubs influence may have been done a slight disservice especially when there is quite a lot about such less paradigm shifting genres such as trip hop and minimal house which are really just sub genres. I would like to have seen an exploration of the liminal post-disco/proto-house period when writer/producers such as Daryl Payne and Paul Simpson started releasing dub mixes on the flip side of vocal versions - the first time this had happened outside of the reggae context. It would also have been nice to read about dub inspired projects such as Levan's NYC Peech Boys or the Padlock ep featuring a disco/funk/soul/reggae supergroup comprising Gwen Guthrie, Wally Badarou, Daryl Thompson and Sly and Robbie mixed by Levan which I feel is the greatest dub (not dub) album of all time. Anyway, this aside, Dub: Soundscapes and Shattered Songs in Jamaican Reggae is along with Christoph Cox and Daniel Warner's Audio Culture: Readings in Modern Music the most informative and engaging book about music I have ever read and I highly recommend that you do too if you have any interest in not only dub but hip-hop, house, d'n'b, grime, dubstep or whatever - none would exist but for dub.

Tuesday, 28 April 2009

Roni Horn


If Roni Horn was an ice cream what flavour ice cream would Roni Horn be? Though Horn's work is often spoke of in terms of identity and memory the experience of walking around her recent show at Tate Modern was essentially visceral. Ice, water and Iceland are recurrent motifs in her work and even when her subjects are bathed in light it is the cold light of day rather than a melting Mediterranean heat. Her use of doubling in photographs, sculptures and drawings with minute differences between pairs casts a light on the space opened up between them. It is this cool, sublime, ethereal space that is ultimately the real art object. The discreetly differentiated pairs that it emerges from are ultimately it's frame in the same way that the physical space is the art object created by the threads in a Fred Sanback installation. If Roni Horn was an ice cream Roni horn would be an ice flavour ice cream.


Thursday, 9 April 2009

Ornette Coleman: Meltdown


Ornette Coleman is going to be curating this year's Meltdown festival at The Southbank. This is a fantastic choice!!! - so much better than another faded pop star. 78 year old Coleman is still vital today, I was lucky enough to see him play at the Royal Festival Hall last year and it was one of the best concerts I have ever seen. Plastic saxophone wielding Free Jazz pioneer Coleman's The Shape of Jazz to Come not only reinvented Jazz but re-imagined what music can be. If you have never heard Coleman play it at times feels like being blasted in the face by sandpaper, cats on heat scratching each others eyes out and garbage trucks colliding but always in a good way... always in a very, VERY good way.

Sunday, 5 April 2009

Sound & Traffic



John Cage talks here about the nature of sound and listening. I was reminded of this clip a few days ago when sat in front of this screen on a warm night like this experiencing the sounds outside my window. The sirens of two police cars in hot pursuit - two notes and glissando going in and out of sync as the distance between the cars alternated between getting slightly nearer and slightly further apart. This created a fluid merging and dissolving effect similar to Steve Reich's use of phasing but with a fluid pulse; plus the Doppler effect as the tones smoothly shifted in comparison to the distance between the cars. This in turn reminded me of the turntablist technique of mixing with pure sine wave records using only the turntables pitch control to vary this otherwise constant tone - a technique first deployed in Cage's 'Imaginary Landscape No.1' composition of 1939. Everything begins and ends with John Cage.

Friday, 3 April 2009

More Brilliant than the Sun


I am currenntly 're-reading' Kodwo Eshun's More Brilliant than the sun: Adventures in Sonic Fiction which explores the black music/technology/sci-fi interface. The term 'explored' is particularly apt with Eshun as this is not a dry academic thesis, nor a piece of (oxymoronic) 'music journalism', whereby music and/or its history and surrounding culture becomes the object viewed from some pseudo-authoritative POV. Eshun writes from inside the sounds he is physically immersed in - transcribing what he hears in synaesthesiastic maelstrom of hyperbolic neologism and Baudrillardian postmodernism. 'Re-reading' implies I have read and have started to read again but this would be a bizzare book to read from beggining to end. It is a book to jump in and out of at random - to read from start to finish such a book would be as absurd as listening to your entire music collection alphabetically. It is text as sensurial experience - a transcendental experience Roland Barthes would would have described as BLISS. If writing about music IS like dancing to architecture this is text as performance, linguistic gymnastics and Krumping!

Wednesday, 1 April 2009

Summer of Riots


So the arrival of G20 saw the first riot (okay quasi-riot) of what promises to be a summer of unrest in this green and pleasant land. As this may be the first wave of major rioting since the 80's it will be interesting to see how the 24 hour news coverage that we now have will not only cover the riots (lots of hanging around waiting for 'something' to happen I would imagine) but, and more importantly, how it will actually effect the nature of the rioting itself. Tom Wolfe wrote a nice scene elucidating the symbiotic relationship between protest and press coverage in Bonfire of the Vanities. The pic above is a video capture for the BBC's 24 hour news channel and shows an RBS bank being attacked by two protesters/rioters/looters/soap dodgers(revolutionaries?) while what appeared to be around 50 photographers photographed, and that was from the BBC camera's POV so presumably there would have been another 50 or so on this side. So a ratio of 100 camera men to two rioters??? What will be interesting this summer is that most of the footage that ends up in the public domain will have been shot by members of the public and/or the rioters themselves. As sites such as google video and youtube exist to make a profit via advertising it would be interesting to see what targeted advertising could appear next to such footage. Interesting times ahead...

Thursday, 19 March 2009

Chilled Funk

















I have posted a new episode of my podcast. It is a mixtape called Chilled Funk and is a chilled out funky soul mix featuring hippy, folky, country and jazzy flavours featuring mainly records I picked up and played out while DJing in New York around 2003. Enjoy!

Thursday, 5 March 2009

Three Exhibitions


This week I saw Altermodern curated by Nicolas Bourriaud at Tate Britain, and Annette Messager's retrospective Messengers and Mark Wallinger's The Russian Linesman both at the Hayward.

Altermodern's premise is fairly vague based around a state of post-post-modernity being defined by globalisation, increased communication, travel, migration, multiculturalism and identity which is all, to be honest, pretty much a given. It is hard to think of any contemporary artist who's work doesn't in some way touch on one or more of these topics. So despite claims to the contrary there really is no 'Big Idea' here from the man who brought us 'Relational Aesthetics'. So what of the actual show and the actual work? Its layout is, somewhat surprisingly, a bit of jumble not that dissimilar to a good degree show despite themed sections which isn't necessarily a bad thing. Thus we have lots of jarring juxtapositions between the slick and minimal such as Walead Beshty's glass cubes and the hand painted folksiness of Bob and Roberta Smith's texts. In general I was very surprised by how Sensation!(sic) a lot of the work was being, in essence, empty spectacle. There was quite a bit of the kind of tack you would expect to see in a Damien Hirst or Charles Saatchi curated show. I am though being a little harsh here as there is some very good stuff such as Loris Gréaud vibrating floor based on his brain waves and some fun to be had with such works as a nuclear mushroom cloud made of kitchen utensals and a giant accordion! In short there was a lot, and I mean a lot, of stuff. All of it was, to deploy Douglas Huebler's phrase, more or less interesting. Does this 'Altermodern' world of ours really call out for most of it? Probably not...

Annette Messager's show is great fun - the highlights being large scale kinetic installations using air to inflate and deflate organic shapes that evoke, either implicitly or explicitly, the sexual organs, and the pieces using stuffed animals, sometimes de-stuffed, often coming to mechanical (half)life. It made me smile evoking a slightly soiled and sinister version of Sesame Street - and everyone loves Sesame Street! Tip: Don't read the small texts next to the works they turn the actual pieces into nothing more than literal illustrations of very pedestrian ideas - closing off the work and killing the joke.

Wallinger's The Russian Linesman's premise is almost as all encompassing as Bourriad's but the extreme diversity of the works selected, ranging from a William Blake painting to Aernouts Mik's video installation of unused footage from the then conflict ridden former Yugoslavia, does reflect Wallengers eclecticaly catholic tastes . My three favourite pieces, Monika Sosnowska's Corridor, Fred Sandback's string arrangements and Sturtavents door ajar, are all minimal/conceptual (as one might expect) and play in the space between phenomenology and metaphysics - the gap between how we experience the world and the world as it is. In the spirit of Wallinger's sporting allusion in the title of the exhibition the final scores are:

Bourriaud - 6 out of 10
Messager - 8 out of 10
Wallinger - 8 out of 10