This weekend’s gallery visit was to the Collective –Cockburn St, Edinburgh. The exhibition is called Documentalist (a play on the title of the annual exhibition Documenta perhaps?). For this reason I was intrigued. The Documenta format is a multifaceted system for which the exhibition becomes just one part of. With the website of the Tate now recognised as its fifth site, this multifaceted art machine extending beyond the gallery walls into satellite exhibitions and cyber space, Documenta’s format seems refreshingly relevant and with this in mind I headed to the Collective. Deimantas Narkevicius’ short film Revisiting Solaris is described as, “a critical look at film, its ability to communicate, and its importance in a primarily visual culture. Deconstruction, ruptures and random juxtapositions push the spectator to fill in the gaps of the story...He creates a back and forth between the past and the present, connecting history to personal experience. He pits documentary truth against potential fiction.” Watching this work I found the disconnection between the photographic stills of endless seascape cut in with his pseudo documentary shots jarring, I wasn’t quite sure what to make of it. It is human instinct to want to connect one image with the next and the state of confusion and anxiety created when this is impossible was perhaps the most successful result of this piece. Susan Treister’s Wall Drawing; A Timeline of Science Fiction Inventions: Weapons, Warfare and Security by contrast was all about the chilling points at which fact meets fiction – “It allows us to see the meetings of worlds as these weapons sometimes travel from the fantastic into the real, like the ‘Atomic Bomb’ described in ‘The Crack Doom’ by Robert Cromie in 1895.” Horizontal histories are hard to read and harder to accept.