Tuesday 30 September (7:30pm)

@ Institut Francais, 17 Queensberry Place, SW7 (020.073.1354) Tube: South Kensington

Antonin Artaud left the world a literary legacy of horror, violence and despair, a critically constructed and profoundly described darkness. It's quite hard to trivialise him. But hey, let's take a stab. Call him a "Jim Morrison of the '30s", like Patti Smith did? Maybe it was the drugs, hard drugs in the way only '30s Paris could manage? Or the nine years spent institutionalised, electrocuted and insane? Maybe his plain scary rep just comes from fearsome conviction and the raging sincerity of his theories -- even when they spilt over into delusional ravings. Expelled by the Surrealists in 1926, he founded the Theatre of Cruelty and became, by turns, ill, destitute and Anais Nin's lover. Yet as the decline set in, he was celebrated as a philosopher, playwright and actor. Read his poetry, the guy was full-volume Fruit Loops.

NB: This talk celebrates the first ever English-language publication of The Monk -- Gothic simulacrum and extreme trip to the far edges of death, sexuality and terror, and also, to jolly things up a bit, Heliogabalus -- "a powerful concoction of sexual excess, self-deification and terminal violence". Um, there's no happy ending.

Wednesday 1 October (6:30pm)

@ Prince Charles Cinema, 7 Leicester Place, WC2 (090.1272.7007) Tube: Leicester Sq.

Thing about the artworld is its lack of humour; in fact it can hardly find space to laugh at itself. Not that it's not had its fair share of pranksters and juvenile delinquents, or even the few capable of seeing the lighter side; in truth it's been a long while since art has stopped wars, ended hunger or maybe put a skip in your step... Now with Art Safari, art geek and award-winning documentary-maker Ben Lewis is gonna break some moulds. Imagine a cross between gonzo journalism, documentary, a cooking programme and anything by Matthew "Blimey" Collings. Lewis and his best friend -- who fortunately happens to be a cameraman -- are bumbling round with some artists, gamely learning critical theory, putting in the odd helping hand or foot; and coming up with quite possibly a more engaging, less pompous, certainly much more human image of the contemporary artist and their creative process. Lust for Life this is not.

NB: The director will be present for a Q&A, after the preview of three short films on Matthew "Bigger Budget" Barney, Gregor "More Corridors" Schneider and KF fave Maurizio Cattelan. The series is being screened on BBC4 starting on 28/10.

Wednesday 1 October

@ Sadler's Wells, Rosebery Avenue (020.7863.8000) Tube: Angel

We wonder whether we are alone in not going to dance gigs very often because, to be honest, the level of fluidity, bloody athleticism and muscularity onstage makes us quite ill with jealousy and fractious with dissatisfaction (quite apart from the bits when we're pedantically wondering "but what exactly does that movement mean?"). Well, just to rub salt in the big, under-articulated wound that is most of our bodies, along has come the 25th anniversary of Dance Umbrella, the festival that exists to remind you of how gloriously and gracefully you might express the world through space and time... This week's £5-standing cheap treats are... new work from England's one-and-only enfant terrible (OK, yes we know he's in his forties) Michael Clark, retrospective stuff from the marvellous maverick New Yorker Trisha Brown and Luminous from Japan's "god of dance", Saburo Teshigawara and his troupe KARAS. And if upon seeing these choreographic wizardries your itch to move is uncontrollable, go on, do it! Sign up for some swing classes down the 100 Club or swat flies with your hips at El Barco Latino...

NB: Dance Umbrella's 25th anniversary runs from 28/09 till 08/11. Click here for full line-up and event details.

Wednesday 1 October (7:15pm)

@ V&A Museum, Cromwell Rd., SW7 (020.7942.2000) Tube: South Kensington

At the current Zoomorphic exhibition at the V&A, architect Kathryn Findlay of Anglo-Japanese practice Ushida Findlay is quoted as saying that architecture should arise from "the invisible things that generate shape", such as the flow of traffic around a site or the paths that pedestrians use to navigate through a building. This points towards an aesthetic based on architectural processes, drawing on careful observations and patient analysis of space and the psychological desires of its inhabitants. Together with partner Eisaku Ushida (with whom she used to be an associate of Arata Isozaki), Findlay has been perfecting her scientific and geometric research into form through projects such as Truss Wall House (Tokyo, 1993) and Soft and Hairy House (Ibaraki, 1994). Often, the duo's preoccupation with (human and animal) bodies -- the "relationship between the body as space and the mental perception of this space" -- has led them to dream up organic shapes, "buildings with forms derived from the movements of the human body". The process from concept to completion of those shapes is the subject of this talk, one of three lectures arranged as a part of Zoomorphic, during which Findlay intends to trace the journey of discovery inherent in architectural projects.

NB: To purchase tickets call 020.7942.2211

Thursday 2 October (Wed to Fri 4 - 8pm; Sat 2 - 6pm)

@ ICA, The Mall, SW1 (020.7930.3647) Tube: Charing Cross/Piccadilly Circus

Artist Nick Crowe's wickedly humorous new work is the result of his recent collaboration with Merseyside Police force. Police Radio is an online radio station which charts Nick's experiences on the beat with Liverpool's finest. Recordings of police patrols dealing with routine juvenile delinquency, drunken behaviour, arson and road accidents, together with late-night whispers while 'hunting' burglars and early-morning chases, are amusingly intercut with the individual officer's on-the-spot choice of tunes from the station playlist. The result is a 24-hour, real-time web-broadcast, which gives an intriguing insight into the activities of an urban police force, combined with moments of genuinely black humour. Record requests from on-site officers at a car crash fatality include the classic "Crash, Bang, Wallop, What a Picture", and a "Town Called Malice" is featured during an arson attack at a local pub. Check out the DJs online -- all coppers in full uniform, with a playlist ranging from Abba to Eminem to Irish folk tunes. (Show ends Sat 11/10.)

Talk: On Tue 07/10 at 6:45pm, Nick Crowe will give an informal talk about this project.

NB: Nick Crowe was nominated earlier this year for Beck's Futures 2003, where he created an online 3D international bombing raid called the-world-wars.co.uk. He also recently showed at the Chisenhale gallery.

Thursday 2 October (7:30pm)

@ Royal Festival Hall, South Bank, SE1 (020.7960.4203 or 4242) Tube: Embankment/Rail Waterloo

Lavinia Greenlaw's previous incarnation as a South Bank arts administrator (aren't we all, dahlings!) has given birth (out of sheer, mind-numbed desperation no doubt) to a poetic imagination which dwells in such whimsical realms as A World Where News Travelled Slowly (1997), and which contemplates such weighty conundrums as The Cost of Getting Lost in Space (1991). Fellow Brit poet, and self-professed God's Gift to Women (1997), Don Paterson, is a jazz smoothie when he's not penning frequently combative and postmodern odes. "This be the Verse: now let us raise the fucking tone." Let us hope, dear Flashers, that the civilised literary exchange, nay, dialogue, between the two poets for the RFH's New Poetry Live! series doesn't descend into the aggressive poetical jousting thrust here by Paterson in his poem Prologue.

Thursday 2 October (7pm)

@ Various locations in Shoreditch

Two hundred words for one night, 15 venues, 15 hosts, 25 live acts and 40 DJs, sprinkled with artists and films, all situated in sunny Shoreditch. It's simply an explosion of London's creative side. Tinged with fashionistas it may be, but who can resist the odd trendy haircut in the name of art (maybe "creativity" is better?). Don't be getting us wrong, though, this night is accessible; only £12, everyone will have heard of someone on the list of artistes. Now to highlighting: Richard Fearless (Death In Vegas), Reuben Wu (Ladytron), Electralane, Jonny Slut and Si Begg (live along with u-Ziq at Aquarium) read like a list of who's who in eclectic electroclash la la land. Films include Warp's back catalogue of Chris Cunningham and Daniel Levy... Art has The Centre of Attention retrospective which features images, film, documentation and interviews with artists like Franko B, Banksy and Fiona Banner, plus a show curated by Ric Blackshaw. You will have to visit the Hung Drawn & Quartered website to catch your breath and take stock, but as an extra tease, it only happens in one quarter of London every 6 months. And this time venues include not only hot spots 333 and Jaguar Shoes, but a strip club and a church -- how very postmodern.

NB: To purchase tickets call Ticketweb.co.uk on 08700.600.100.

Giveaway: We have two pairs of tickets to give away. They'll go to two randomly picked subscribers who can tell us the name of the famous Shoreditch zine.

Friday 3 October

@ Cinemas across London

Originally deemed too dark and disturbing by Universal Studios' corporate standards, Rob Zombie's written and directed House of 1000 Corpses was dropped twice and left on the shelf until Lions Gate Films acquired it for distribution. This film was clearly written by a man who loves horror movies, and Zombie makes use of every cliche -- kidnapped cheerleaders, psychotic killer clowns and, of course, the traditional family dinner a la Texas Chainsaw Massacre. The basic story: four teenagers on a road-trip to research back-road attractions stumble into Captain Spalding's Museum of Monsters and Murder on All Hallows Eve. After a quick trip on the museum's premiere attraction -- the Murder Ride -- they hear about a hanging tree where the infamous local hero/madman, Dr. Satan, was killed. In typical horror-movie style one of them really wants to see it, so after picking up a hitchhiker (Texas Chainsaw anyone?) they set off to find the tree. A blown-out tyre leads them to an interesting All Hallows Eve dinner at the Firefly house -- in the company of Otis (aka Chop Top in Texas Chainsaw 2), Tiny, Baby, Grandpa, Mama and RJ -- which is when all the fun begins... Surprisingly the movie is quite light on gore -- but you can see it has been chopped about a little by censors and studios. An uncut version would be a dream to see, but the version you have here is more about disturbing you... and it does.

Friday 3 October

@ Cine Lumiere, 17 Queensberry Place, SW7 (020.7073.1350) Tube: South Kensington

Napoleon: the Tony Blair of his day? Sweeps to power in a messianic fervour, conquers all before him, falls victim to his own ego, suffers defeats and generally disappoints all the pop-stars that used to laud him (although Charles Kennedy is no Horatio Nelson and Noel Gallagher no Byron). It's an entertaining thought, and one you could put to Antoine de Caunes after tonight's screening of his new film, the first in a mini-festival devoted to the diminutive Corsican with a knack for a game of "conquers". Mr. de Caunes' characteristic em-ph-aaa-seees on ze wrrrong seelaabels style, is usually employed on TV show Eurotrash, so what prompted him to drop Dildos and Bimbos for Politics and War would be another interesting poser. Perhaps it was the rumour that Napoleon's "old chap" ended up in a glass jar?

NB: This mini Napoleon festival comprises screenings, Q&As and round table discussions, and runs from Fri 03/10 till Sun 05/10. Click here for full line-up and event details.

Friday 3 October (7pm)

@ Tate Modern, Bankside, SE1 (020.7887.8008) Tube: Southwark/Blackfriars

At a time when The Italian Job has been remade, they're talking about putting colour into Casablanca and even Johnny Depp seems to have lost his integrity (!?), Bill Morrison has created that anathema of a watchable avant-garde film. Already highly acclaimed on the film circuit, including Sundance and Edinburgh, Decasia (2002) is engagingly hypnotic, due in equal parts to Michael Gordon's caressingly apocalyptic symphonic score and Morrison's literally decaying images taken from his trawl through cellulose nitrate archives at MoMA and elsewhere. What we actually see on screen are images of anonymous people in the throws of religious fervour, north African weavers, fairground rides, even, rather self-consciously, strips of film being developed, and all of this in the process of melting or decaying due simply to the nitrate film they were originally shot on. Serendipity has a big part to play in the creation of these absorbing images, allowing Morrison to be as much thoughtful arranger as director. But this film is far more than a vanitas-influenced reflection on modern-day Hollywood, or even an ode to psychedelia via Kenneth Anger and Hitchcock. Sure these elements are interestingly present but so too is a thoroughly new work, innovative in its technique and refreshingly sensual. Visually, critically, audibly compelling.

NB: Decasia is being screened as a double-bill along with another of Morrison's films, The Film Of Her (1996), in the Starr Auditorium throughout October and November (last screening is on Sun 07/12). Both films are part of the bfi and the Tate's Rare Finds programme which coincides with Tate's Sigmar Polke exhibition (02/10/03 to 04/01/04).

Saturday 4 October (Tue to Sat 11am - 6pm)

@ Eclectic Gallery, 20 All Saints Rd., W11

A collection of T-shirts might not sound like the most riveting excuse for an exhibition, but when they're produced by bleeding-edge record label Warp then the results are most likely to be interesting. The label has issued a special T-shirt every month since the start of the year, from renowned designers such as Sheffield's The Designers Republic; London's Catherine Haines; design duo Kai and Sunny; fashion designer ReDeux from Tokyo; and Dan Sparkes. During this nine-day event the artists will also be on hand to meet the public and discuss their work, including new and exclusive art pieces on show. Of course, music will figure prominently too, with a dex'n'fx set from Req (Thu 09/10) and DJ turn from Mira Calix (Thu 9/10), amongst photography and screen-printing displays. The highlight will be an interactive workshop from Plaid (Sat 4/10), previewing their forthcoming album Spokes. Students from local schools will collaborate with the duo on new music, hopefully to be released on Warp.

NB: Wrapt In Warp runs from Sat 04/10 till Sun 12/10. Click here for full line-up and event details.

Giveaway: We have two T-shirts to and two CDs to give away. They'll go to two randomly picked subscribers who can give us the name of one of Warp's founders. (Hint: answer is somewhere in this issue.)

Saturday 4 October (7:30pm)

@ Bush Hall, 310 Uxbridge Rd., W12 (020.8222.6955) Tube: Shepherd's Bush

A warm nostalgic glow should fill Bush Hall this evening as the BMX Bandits show up to promote their new release Down At The Hop. These guys sport a beautifully tuneful, meaningful brand of indie-pop, with melodic hints of retro classics like The Beach Boys and The Monkees, and more recently (also unsurprisingly) Teenage Fanclub. With their roots firmly embedded in the foundations of the Bellshill Beat from mid-'80s Glasgow (a scene shared intimately with the likes of Eugenius, The Vaselines and The Soup Dragons), the Bandits could be considered pretty retro themselves these days. They get up to plenty of other things as well, though (playing for other bands, running record companies, producing children's telly... you know the kind of thing), so it's not surprising that this is a rare appearance (not to be missed), and releases are sometimes few and far between. All things considered, when their paths do manage to converge, they can't help but continuously hone this original sound. Scottish musical heritage is lost without these guys, and so this Strange Fruit gig will inevitably prove to be a popular attraction.

Sunday 5 October (7pm)

@ Scala, 275-277 Pentonville Rd., N1 (020.7833.2022) Tube: Kings Cross

Lex Records Autumn tour has arrived at the Scala courtesy of Eat Your Own Ears, with a line-up that could make your head spin with deja vu. Boom Bip et new band plus Buck 65: if you know your KultureFlash, you will know that we have talked about these guys before. Canadian hip-hop guru Rich Terfry has just released his latest record as Buck 65, Talkin' Honky Blues, and let's just get one thing straight right now, he is NOT your hip-hop norm. Summarising: influences include Tom Waits, Kerouac and Bukowski, and collaborators stand up and be counted as Aphex Twin, Beastie Boys, Radiohead and more of the ultra indie brigade. Joining leftfield lennie here is Bryan Hollon, stage name Boom Bip. This is a man who is good with his hands; from carpenter to electronica hip-hop star, this chap can surprise with his mix of the more organic music-making machines, plus the laptops and samplers. Both bright young things are with Warp's off shoot Lex and this is their 2nd Birthday Bash. Supporting the celebrations are Sage Francis and Non Profits (where Sage is joined by Joe Beats). Innovative, exciting and unpretentious.

Giveaway: We have two Lex goodie bags to give away (each contains every album released by the label and copy of Talkin' Honky Blues). They'll go to two randomly picked subscribers who can give us the name of four artists on Lex's roster.

Monday 6 October (7:30pm)

@ Royal Festival Hall, South Bank, SE1 (020.7960.4203 or 4242) Tube: Embankment/Rail Waterloo

Robert Hughes, like his collection of criticism, is Nothing if not critical. Certainly, as Time magazine's lead art correspondent, he has one of the largest readerships globally, but he's to be taken seriously not for his circulation -- well no critic has closed a show yet -- but his qualities as an essayist. Like Chandler, Hughes can turn a phrase, not to mention his mastery of the witty put-downs. His review of Basquiat, in which he described said artist as "the Bisquit", was entitled "Requiem for a Minor Weight"... miaow! Over the years he has not shirked from controversy, in fact it's been said that if he didn't hate you in the '80s, you were a nobody. The Bisquit, Schnabel, Salle et al have fallen under his pen. Of late, history has been his thing, following the success of his books on Australia (his homeland) and Barcelona; Hughes is now launching a book on Goya. Tough figurative romantics is really his thing, and with Goya he has said that no matter what he writes it'll not make a dent on his prices.

Ends Thursday 2 October

@ Various cinemas across London

40 years on, and Nouvelle Vague director Eric Rohmer still sets the standards for classy French moral dramas -- an acquired taste, we'll admit. The ingredients of Le Chignon d'Olga are all familiar to the Rohmer genre: a remote rural setting, a family brought together by grief, unfulfilled creative ambitions, and love's obstacles across the generations. But for one so young, 24-year-old first-time director Jerome Bonnell treats some difficult subject matter -- jealousy, cowardice, deception -- with a sensitivity that is never heavy-handed. Olga, in case you're wondering, is the local bookshop assistant and, more importantly, the unwitting object of desire for the idealistic Julien (played by Hubert Benhamdine -- the thinking woman's Orlando Bloom), recently returned home to keep an eye on his grieving father. Following slapstick attempts at seduction, we are led to realise that Olga is merely a displaced fantasy for Alice, Julien's lifelong best friend. Moreover, Olga's chignon becomes the film's metaphor for the dreams that everyone is afraid to pursue...

NB: Le Chignon d'Olga's run is almost over. Ends Thu 02/09, so make sure you catch it (playing at both the Odeon Wardour Street and the Renoir).

Tuesday 7 October (7pm)

@ Institute of Education, 20 Bedford Way, WC1 (020.7612.6000) Tube: Russell Sq.

Ladies and Gentlemen, it is our great pleasure, indeed it is our erotic destiny, to recommend Mr. Stephen Fry's inevitable fructifying of another copacetic Foyles lecture. In the world of bon mots Mr. Fry, who has been variously described as a national treasure, a rare genius and a wordy old poof, is quite simply "the cat's whiskers". Hot on the delicious heels of his directorial debut, Bright Young Things (based on Evelyn Waugh's Vile Bodies), Stephen is likely to be in fine fooling. Marvel as he grips language much as a muscled Greek athlete would grip a leaping steer, and gasp as he brings a flight of flowery aural fancy down to earth with the studious use of an expletive or two. Bugger this attempt to imitate his style, it might be a sincere form of flattery but it's fucking exhausting. Just go and see him, it'll be good.

NB: To purchase tickets call 0870.420.2777 or book tickets online.

Tuesday 7 October (7pm)

@ Foyles , 113-119 Charing Cross Rd., WC2 (020.7437.5660) Tube: Tottenham Court Rd.

Even if you only have a passing interest in history, you've probably heard of Eric Hobsbawm. Born in Alexandria in 1917 and fleeing to Britain from central Europe in 1933, he's unusual among current historians in having lived through many of the events he's written about. Partly famous for the not trifling achievement of writing a four-volume history of the world from 1789 to 1991, he's also known for his skill at popularising the subject (Simon Schama didn't invent this idea, and was still in nappies when Hobsbawm was long established). More than this, he sees no boundaries between 'serious' and cultural history, and has integrated his love of jazz into more than one of his books. Passionate on the importance of public awareness of history, he once recounted how, on a lecture tour of the US, a young student had asked whether the term "Second World War" implied that there had been a first one. As a lifelong Marxist he's always been controversial and the publication last year of his autobiography, Interesting Times, bears this out. Sure to be an interesting reading and Q&A -- raise your hand if well read or quite brave.

NB: To purchase tickets call 0870.420.2777 or book tickets online.

Ends Friday 10 October (Tue to Fri 11am - 6pm; Sat 11am - 3pm)

@ Percy Miller Gallery, 39 Snowfields, SE1 (020.7207.4578) Tube: Borough/London Bridge

In a sense artists never forget what it's like to be a child; the sense of wonder, discovery and imagination stem from that childhood part of our being. In this country, the model kit -- like Lego for later days -- forms one of the early building blocks of a boy's creativity. And Tom Ellis has quite literally tapped into his childhood by bending so low as to use actual model kits in his work. With the box for a Hotel de Ville (2002) painted as if on fire, the stairs to a subway model kit constructed to form a chapel (?!?), his work playfully engages with a kind of architectonic imagination. Reflection, imaginary chapels -- architectural plans and all -- boys will be boys, and boys love to play at Bob the Builder!

NB: Percy Miller are keen to emulate NYC's drawing resource gallery Pierogi 2000, so if drawing's your thing, ask to peek in their cabinets.

Tuesday 7 October - Saturday 11 October

@ Institut Francais, 17 Queensberry Place, SW7 (020.073.1354) Tube: South Kensington

Scenario! Do British films exist? Yes, KF thought they did too, but apparently there is some contention on the matter. Spattered in between a week of rather good English and French cinema at the Institut Francais are a number of enticing-sounding events/workshops exploring just that kind of "myth". The focus of the week is screenwriting, a popular aspirational pastime, and there is a wealth of knowledge for budding Julian Fellowes here. For example, did you know that English films are appreciated across the channel for their "literary roots and inflections" whilst we consider French movies to be "hardly written"? Smiling for the cameras throughout the week at this edifying luvvie-in will be, amongst others, Stephen Fry, Hanif Kureishi and Richard Jobson. Other questions that KF doesn't know the answers to include: Are French films truly written or UK films truly directed? How can our ideas of film authorship be squared? And, what can we learn from each other? Lots probably. Films on show include: Intimacy, Muriel (Alain Resnais), Don't Look Now, Bright Young Things, Since Otar Left and Quand Tu Descendras Du Ciel.

NB: Scenario! runs from Tue 07/10 till Sat 11/10. Click here for full line-up and event details.

Ends Saturday 18 October (7:30pm)

@ Almeida Theatre, Almeida St., Islington, N1 (020.7359.4404 ) Tube: Highbury & Islington/Angel

The Almeida's second production since its recent refurbishment is the world premier of ID, a debut written by acclaimed actor Anthony Sher (adapted from Henk van Woerden's novel, A Mouthful of Glass). The play follows Henrik Verwoerd, South Africa's Prime Minister -- and 'architect' of apartheid -- during the '60s, and his assassin, Demetrios Tsafendas, portrayed as a displaced and somewhat pathetic character by Sher himself. ID shows the lead up to, and aftermath of, Verwoerd's assassination in episodic fashion, reflecting on the shifting moods of both characters, and the increasing unrest in wider South Africa before the eventual fall of apartheid. The twist in this political tale is that Tsafendas, who confessed to Verwoerd's murder, believed that his body had at the time been overtaken by a giant tapeworm, whose life-size incarnation is rendered on stage by a slippery, and wholly unrecognisable, Alex Ferns (aka Trevor in Eastenders). Despite this dive into surrealism, the tapeworm's role kind of works, doubling as an aggressive narrator of events. This is supported by simple, stylised, pacy performances, which may be indebted to direction from Nancy Meckler, co-artistic director of the wonderful Shared Experience theatre company, renowned for their exquisite literary adaptations on stage.

NB: Run ends Sat 18/10.

Ends Sunday 19 October (Fri to Sun 12pm - 6pm)

@ One in the Other, 4 Dingley Place, EC1 (020.7253.7882) Tube: Old St.

Like a skewed version of Changing Rooms, Liz Neal has transformed One in the Other's modest gallery space into a baroque poor-geois playpen complete with (literally) dripping chandelier; papier peint featuring obscene bathroom graffiti and soft-porn hotties; a painting of a contemporary male Olympia; and life-size Disney animals in X-rated poses. The show's title, Gloriana, would appear to hark back to some ideal aristocratic era; however, this is no artvert for the monarchy. A tailor's dummy displays a re-creation of one of Queen Elizabeth I's signature dresses, intricately decorated with more porno doodles and accessorised with a P Diddy-style gold chain bearing the ambiguous initials 'ER'. Despite the attempt to contemporise her look, this headless matriarch represents a merely symbolic relic, powerless to rule over our childish, vice-ridden consumer culture. Long live the Revolution!

NB: Show ends 19/10.

Ends Friday 24 October (Sat to Sun 12 - 6pm or by appointment)

@ The Ship, 387 Cable St., E1 Tube: Shadwell

Since the rise of Pop and Conceptual Art in the '50s and '60s, debate and practical reaction to Greenbergian formalism has provided a wealth of solutions to the problematics of surface. Curated by The Ship's R. Nick Evans, this quiet and measured group show endeavours to explore the increasingly nebulous relationship between figure and ground. In his 2D cut-out Suburban Church (2003), last year's Beck's Futures winner Toby Paterson continues his investigations into failed utopias through the study of post-war Modernist architecture. While better known for tagging his own futuristic and biomorphic 3D works, the inclusion of Steven Gontarski's similarly daubed photographic piece Zero (2003) serves to remind us of the web of illusion through which we construct our collective visual reality. Louise Hopkin's deceptive, over-painted embossed wallpaper piece, Untitled 2 (1996), speaks most directly about the limitations of Greenberg's theories. Through simultaneously erasing and revealing pre-existing elements, Hopkins painterly experiments allow for an unlimited wealth of imaginative intervention.

NB: Show ends 26/10.