With her lurid, bulbous head, goggling, chameleon-like eyes and plaintive chatter, Tony Oursler’s biomorphic video-sculpture Sang is as off-putting as she is unforgettable. With no body to speak of, she’s the original talking head, magicked up from light and sound into a strange stand-in for a living being. If she’s less than human, though, no one seems to have told her – she seeks our attention and involvement with an urgent and unsettling intensity.

(Dummies & Doppelgängers, 2 November 2024 – 23 March 2025)

Works of art aren’t as well behaved as they used to be. Once upon a time, they stayed where they were put, hanging obediently off picture rails or perching politely on pedestals. Since the arrival of the Duchampian readymade, however, many require a second glance to distinguish them from the world around them, as everyday objects are pressed into service in new, perspective-tilting contexts. There’s another kind of work too, the type Glen Hayward is known for: the readymade’s stealthier cousin. Meticulously, even obsessively, crafted to resemble objects you wouldn’t give another glance, these unobtrusive double agents aim to blend in, adding a subversive frisson to the gallery experience.

(Unseen: The Changing Collection, 18 December 2015 – 19 June 2016)