Monika Sosnowska @ Talbot Rice

An entirely useless building is a pleasing thing to consider. It is transgressive and reckless, expensive and futile. Sosnowska's exhibition, whilst it provokes such similarly fantastic thought, is called Display. This is a school word. More than this, it is a museum word; its inferences are dull. Downstairs, 27 architectural models of impossible spaces are chaotically arranged. Accompanied by a distractingly dense index, the process of viewing them becomes a studious exercise.

To venture upstairs, however, into the space lorded over by Sosnowska's rubber installation, is to experience absolute joy. A space that is as ripe for the sweaty and ripped as for gallery goers, Sosnowska's messy mass of rubber strips sits as a knot of dissident euphoria. This discrepancy between the cognitive confusion of exhibit A, and the sensory onslaught of Exhibit B, is key. Sosnowska presents to us a closed system; her implausible spaces are allotropic. By presenting new work in relation to her body of past architectural pieces, the artist sets in motion a dialogue whereby a radical recasting of the whole is perpetual. B changes how we perceive A, but B is not B without A.

Resting between a familiar boredom and an anti-institutionalised reverie, these interiors resist definition by any other terms than their own. Sosnowska's awareness of the politics of display lends these liberated interiors a protective critical cloak with which to address the often fatefully naïve investigation of space, and oppressive systems of power. [Rosalie Douban]