ionship with urbanisation by using the uncanny, the unsound, the rhetoric to expose the effects of city living. As art can be both local and global, this exhibition uses both proximity and distance in relation to London and its culture. Viewed in a wider context, it is not a visual hybrid of cities or homage to one, but an investigation into the desensitisation of the urban experience. Focusing on the physical and environmental effects of urbanisation, academic and intermedia artist J Milo Taylor has created a site-specific installation, which uses infasonic and supersonic sounds mixed with state-of-the-art technology to create a ‘soup of sound’, to unnerve the audience and play on our relationship with the urban landscape. Tim Bouckley's 'Conspiracy Dumpsters' are urban interventions, in the shape of text taken from popular conspiracy films placed on bins, in and around 198 Contemporary Arts and Learning, in Brixton. Larry Achiampong’s 'Standard!' plays on our submissive behaviour towards figures of authority and stereotypes as well as the media’s percep¬tion and anxieties of Brixton and associations that are commonly linked with the area. Yu Kim Chan’s sculptures “Your Sweet Terrorists”, takes a familiar non-threatening toy and subtly changes our perceptions of roles and labels. Filling the space between urbanisation and globalisation is a piece by Hollington & Kyprianou, 'A Future Manifest'. Combining footage from 2010's closure of Heathrow airport due to volcanic ash cloud, with a computerised narration of F.T Marinetti’s ‘Futurist Manifest’, ‘A Future Manifest’ looks at the disruptive nature of globalisation, progression and its violent origins. Alongside the exhibition, a series of events will take place, including the School of Meat Cutting, a workshop in low life circuit bending, blasting, and building using raw meat (or tofu) and a live performance by Ryan Jordon, a screening of artist’s films including work by Jenny Gordon and a performance by artist Raymond Wong.
