Daniel Sturgis













David Batchelor, Kathrin Böhm, Jonathon Callan, Sally Cox, Martin Creed, Thomas Demand, Ana Genoves, Liam Gillick, Dan Graham, Peter Halley, Gerard Hemsworth, John Plowman, Charlotte von Poehl, Eva Rothschild, Ruth Root, Martyn Simpson, Johnny Spencer, Daniel Sturgis, Shizuka Yokomizo

The exhibition Perfidy – surviving modernism originated as an intervention at Le Corbusier's Dominican Convent Sainte Marie de La Tourette, and investigated the ideas of living with the legacy of modernism, but also faith, which is inherent within a certain type of modernism. There is both a faith in progress and originality in much modernist thought, and a faith in purity and essence within a strain of modernist reductionism, notably in Clement Greenberg's writing.

The artists selected for Perfidy can all be seen as reflecting on, and reinterpreting perfidiously preceding modernist history. The location of this intervention resonated with its themes. La Tourette’s uncompromising formalist brutality can be seen as a triumph of architectural refinement imbued with inherent religiosity or as an utter failure—unsuccessful as the building did not successfully serve its function.

The exhibition was later developed to fill the modernist galleries at Kettle’s Yard in Cambridge.

A full colour catalogue accompanied this exhibition with an essay by Simon Groom.

Anna Genoves Stone Block 1999


David Batchelor Stack 1997


Martin Creed Work No 142: a large piece of furniture partially obstructing a door 1996


Thomas Demand Untitled 2000


Martin Simpson Barney 2000