Stuart Gurden & Nina Lola Bachhuber @ GSS

Stuart Gurden's film The Approach in Three Parts is the most developed piece in this show. Juddering camera movements keep the objects of focus, caught within a flickering rhythm of appearance. These overt references to structuralist film-making frame three pared-down signifiers from a hinterland in the approach flight path to Glasgow airport - the horizon, ancient standing stones with graffiti faces carved on them, and a plane coming in to land kept jumping in place in a centre shot of the blue sky.

Literally up in the air and adrift in the outskirts, the experimental tropes of underground film abut with a symbol of global technology and mainstream culture that has absorbed and made their visual language so familiar through advertising and digital technology. Similarly, an act of cultural atavism is scraped on to the ancient landmark - the brutish and primitive as opposition to global forces. Or is this merely one sign system co-opting an older one - a modern conflation? This lack of unalienated link between referents seems, if anything, to be the point of the work, a conclusion furthered in the grindingly obvious opposition between technology and the ancient. Accompanying drawings and objects add noise music as a referent - the use of technology as a barrier to a 'centred self', adding another bead to the abacus of links between cultural hierarchies and atomised referents.

By contrast, Bachhuber's work is an unconvincing juxtaposition of sculptural elements embodying surrealism, decadence and sexuality. The play of referents is not as productive and seems without direction. [Darren Rhymes]