Dance review: Rotor

There are echoes of childhood in Rotor, a cross-artform exhibition at the Dovecot Studios.

In choreographer Siobhan Davies' film work The Score, four dancers dressed in black, red, yellow and white are filmed from above, walking and running in circular patterns. Their movements, from tight circles and little twirling eddies to large loops, are like a human Spirograph.

Projected on a wall, the work is the starting point for Rotor, showing until Saturday.

Dance, sculpture and installations by ten artists are all tied to The Score's themes of counterpoint and convergence, anarchy and order, collapse and reformation, with live performances taking place at intervals. Four dance artists enact what is effectively a live version of The Score on the studio floor, from slow walks to interweaving runs. They then move into Songbook, firing off sounds, words and movements. The rhythms are like a disjointed playground clapping game.

At the side of the room an unsmiling girl dressed in black fills and refills unfired clay pots in artist Clare Twomey's Is It Madness, Is it Beauty. As they break or slowly distintegrate, she mops up the watery mess and puts out another.

An eye-catching highlight is Vortice, by engineer and artist Ben Tyers, which uses a corkscrew effect to create the impression of flowing metal. The Conversation Revolved, meanwhile, takes snatches of the film Suspicion by Alfred Hitchcock and creates a fractured, four-way dinner party with projectors and prisms.