The main installation, 'Untitled' (2014), occupying one of the gallery spaces, comprises dozens of dangling objects spewing foam. There's something strangely uncanny about these sculptures made from discarded car parts. Their dirty, dismembered state somehow makes you think of amputees on a battlefield. The human-ness of them is supported by a broadcaster's voice discussing life-support machines. This idea of the loss of life continues with stunt dummies hooked to the wall that crash, unexpectedly, to the floor.
The vulnerability of the body is evoked in a video interview with a scientist who advocates that the threat of variant CJD, which followed the 1980s/1990s BSE crisis, or “mad cow disease”, is far from over. Hiorns has allegedly also been making art from “brain matter”, using animals' brains from a butcher's and putting the mashed-up organs inside engines, stunt dummies and paint.
Throughout the show, there's the sense of Hiorns scrutinizing and interrogating society through the poetics of absurdity.