The plan becomes the project rather than the means of execution in this elegant group show on the use of drawing in human schemes. Most of the works here, though derived from familiar political and corporate material sources, take one into fictional territories. And while being somewhat in the dark is an expected part of re-engaging with the influential frameworks for ideas that plans provide, certain modes of display here can leave one feeling left out at the doorstep of the project mission.
This exhibition is one element of a larger investigation into the potential of drawing as a planning tool, incorporating a symposium, performances and workshops in a variety of other locations. And this room of necessarily oblique reworkings of graphic and model-making conventions illicits the sense of iceberg tips. Janice Kerbel's stripped out Ordnance Survey-style map might describe the perfunctory organisational beginnings of post-apocalyptic survival but is in fact a photogravure etching of a town designed for ghosts. Marjetica Potr, on the other hand makes flip-chart philosophy out of the history of a sinking Venice in a series of drawings.
I can understand why Militant US research collective, Ultrared, have chosen to present their curriculum for the sound of radical action now, based on the audio experiments of late British composer Cornelius Cardew, in grey dossiers on an old-fashioned desk. The instructional mood the props create, between school exam and cabinet war room, is pitch perfect. But this, as with Paul Rooney's brilliant story of a religious evangelist's world takeover with toy tanks, is not a straightforward project to quickly pamphlet flick-through.