The whole exhibition is slick with its own distinctive style. Black, white and neon, the experience itself is a crisp one, with art spaced with restraint around the cinemas' entrances. With a vast neon sign that spells "I Love You" in binary as you enter, the whole experience feels as simple and restrained as though it were presented by Apple. So it hardly comes as a surprise to see its logo pop up in the drawings. And in an exhibition that explores the origins of computing, it seems only natural that the modern corporate monolith should feature alongside Turing and the abstract beginnings of computing.
In the Divination Room, the RoboTarot cards from the film are displayed alongside a deciphering of the method in which they should be read. The cards are vivid CGI which, when viewed alongside AL and AL's films, appear like a couture computer game; half SFX porn, half editorial chic. However, there is a disconnect that runs between the fascinating freestyle drawings of the vestibule and the rest of the exhibition. In addition, the display boasts the world premiere of the artists' new film The Demiurge and though these pieces are all linked thematically, their execution is at odds with one another. With The Demiurge appearing like a sci-fi but non-committal Crimewatch reconstruction, the exhibition's slick presentation upstages its own content. Though a delight for anyone intent on decoding the works' semiotics, Incidents Of Travel In The Multiverse is a deceptively dense and annoyingly indecipherable body of work that seems to have chapters and connectives missing.