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altIn association with Sadlers Wells and The Fruitmarket Gallery, Ballet Work No. 1020 is Martin Creed’s most recent commission since his immensely popular Work No. 850 in which he employed runners to sprint through the Duveen Gallery of Tate Britain every thirty seconds. In a similar vein to his previous works, Creed uses a strict formula, in this case the five ballet positions each ascribed a musical note, together with video and humour to create a charming, engaging and astute look at the changing effects of time, speed and direction.

The overall tone of the viewing experience is somewhere along the lines of an indie-rock gig, the meticulous elegance of the dancers peppered with observational witticisms – are we getting a sense of “Martin Creed” the person? The performance, however impromptu or rigorous, remains specific and modest. It is impossible to grasp the extent to which anything is potentially the crux of a philosophical point or a merely a peculiarity in the way things are. This is the tension where Creed’s humour seems to take its shape.

Audiences will either warm to the superficial trivialities or be irritated by them. It’s a rare opportunity to see such a work so buy a ticket and decide for yourself. 

Traverse, 8-15 Aug, times vary

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