Any show of successive video installations like this, featuring such a programme of quality works, is a rare event. Of these dramatic and engrossing St. Paul St presentations, usually it is the shorter ones that are the most haunting (Site Recite, Mediations). Others are particularly intense (Goats and Sheep), if not exhausting (Why are Things in a Muddle). For any lover of quality contemporary art, several visits to this very special exhibition are essential.

The sounds are hard to ignore: they never could be background. Though not loud they nevertheless are ‘in your face.’ They put you on the spot and are confrontational. But maybe that is a misreading. Maybe some find them soothing and uplifting, even exuberant. Maybe.

Through creating an image of extravagance in a time of recession Pivi could be presenting something really powerful for the international art community to think about, questioning the raison d’être of these art fairs, or perhaps even international events like ONE DAY SCULPTURE. It might even be critiquing its own existence. However if you look at her history of images, it is more likely she is an artist who just loves incongruous juxtapositions, and the way light falls on water or fur or snow

The five photographers in the second half of this German show are so good I cursed myself for missing the first half. Superbly installed by its own globe trotting technician, this display is a remarkable flagwaver for German culture. The work is pristine, elegant, remarkably fresh and fastidiously hung. It looks as if the curator lived in Auckland instead of Munich, and had the L-shaped Bath St Gallery in mind right from the start.