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CRITIC'S CHOICE

REVIEW

Since the late 1980s Jesus College, Cambridge, has staged serious biennial shows of sculpture, building up a permanent collection in the process. Sculpture in the Close 2005, until 5 August, continues the tradition, mixing works by eight current artists with others owned by the college. Jesus' grounds are among the loveliest of any Cambridge college, and the show makes full use of its courts, lawns and gardens, with the varying degree of openness and enclosure (even secrecy) they provide, and their wealth of mature trees.

The show continues inside some of Jesus' buildings, where John Gibbons' steel 'angels', with their skeletal wings and knobbly heads, look surprisingly at home suspended among the chandeliers of the hall. They could be hi-tech equivalents of those big fossil birds one finds hanging in natural history museums. Another of these ambiguous creatures sways gently in the branches of a tree at the edge of the orchard, but to find this (and several other works) you'll need to pick up a plan. Not everything is of merit (Sam Taylor-Wood's videos in the chapel are as vacuous as ever) but Sculpture in the Close is a pleasure to explore.

The Edinburgh Festival begins on 14 August, but in its packed programme there is only one architecture event - 10/10: Buildings That Made A Difference at RIAS, 15 Rutland Square, from 1 August-2 September. This examines the impact - cultural, economic, whatever - of 'the 10 most significant Scottish buildings of the last decade'. In past years the Royal Fine Art Commission for Scotland could be relied on for a show but, with its recent absorption in the new Architecture and Design Scotland (A&DS), that isn't happening. A&DS chief executive Sebastian Tombs says: 'If we'd been up and running earlier, we'd probably be doing more, ' and points out that A&DS and RIAS are well-advanced in discussions about a permanent architecture centre in Edinburgh.

Other festival events include the Dean Gallery's retrospective of photographer Henri Cartier-Bresson and its 1930s Surrealism in Britain show - like the reception of early Modern architecture here, an example of our responding to a continental avant-garde a decade or more late.

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