Fold Gallery: Flipside (until 18th August 2018)
The show's subtitle is 'The opposite, less good, or less popular side of something', while le Guin's text critiques the 'Story of the Ascent of Man the Hero', where the patriarchy has been supported by the male figure providing, fighting and hunting for the family and for society. Exhibiting work as a response to this is a far more interesting idea than the all-female exhibition concept, which more times than not simply acts as an example of positive discrimination instead of providing a narrative worth discussion. Reed has done an excellent job curating the show, with eye-catching works generally assigned to the gallery corners, with smaller works positioned either above eye level or on shelves, such as Saelia Apararicio and Paloma Proudfoot's collaborative sculptures.
A variety of themes addressed keeps the show fresh and compelling. In 'The Carrier Bag of Fiction', le Guin talks about the falsehood of the role of the heroic male hunter, stating that in fact the prehistoric diet consisted mostly of vegetation and seeds. Instead, she proposes that "the restless ones who didn't have a baby around to enliven their life, or skill in making or cooking, or very interesting thoughts to think, decided to slope off and hunt mammoths". Ideas of civilisation, nature, femininity and masculinity are fleshed out, often with amusing tones. Kira Freije's cast aluminium and steel sculpture 'Beneath the Higher Worlds' sees a human-sized structure on its knees with its arms flung in the air; despite having no facial features the emotions in the figure are palpable, and the viewer can never quite decide whether the character is in agony or ecstasy.