Peter Robinson

Peter Robinson's trashy scatter installation The End of the 20th Century has been called a grim merger of exotic and cultural alienation. Picking through this archive, one discovers all manner of tack: Bill and Monica Russian dolls' a pornographic interracial love atlas; a golden Chinese junk; a reclining porcelain nude with detachable breasts - salt and pepper shakers; downloaded photos of transsexuals, aliens; Stephen Hawking and Marshall Applegate, the Heaven's Gate cult leader; china clogs, buddhas; model planes and skyscrapers. A TV screens the 1962 global pseudo-anthropological shockumentary Mondo Cane (translation Dog World), while Malcom McLaren's equally exploitive early-1980s world music megamix Duck Rockblares out of a ghetto blaster.

The ensemble is punctuated by signs, instructions, slogans, jokes. Graphics signifying lengths-of-road enhance the sense that the work is a kind of landscape. Robinson's cultural core sample is a world tour of kitsch. Offering a radically deregulated view of the world (one familiar to any jaundiced cheap thrill-seeking Netspace navigator), The End of the 20th Century is Robinson's riposte to the worthy globalism that permeates the art world.