The disparate works in this programme expand spatial possibility through a consideration of inner and outer spaces, of varying cartographies and aesthetic patterns.

Chris Kennedy’s 349 (for Sol LeWitt) (Canada)is a digi­tally animated version of Sol LeWitt’s Wall Drawing #349, which was commissioned by Toronto’s Mercer Union gallery in 1981. Recreating LeWitt’s geometric vocabulary and primary colour palette, 349 careens through emblazoned emblems, lifted from walls and transported into dialogue with LeWitt’s exploration of spatial systems and human emotion.

A black mirror mounted to a motion control machine trawls the Dutch Landscape and Genre Scenes painting rooms at the National Gallery in London as camera and mirror partake in a three-way play of representation in Mark Lewis’ latest transfixing investigation into cinematic technique and pictorial composition, Black Mirror at the National Gallery (Canada, United Kingdom).

A chasm between what we hear and see in Neïl Beloufa’s kaleidoscopic Untitled(France) echoes the fabrication of its ink-jet mise en scène.

Space is the Place(Japan)is the latest video animation by Eriko Sonoda, whose meticu­lous lo-fi explorations of flattened space use sheets of paper to transcend finitude. A corner wall in the artist’s room is transmuted through a staccato of origami exchanges.

Ute Aurand’s Young Pines(Germany) is a portrait of Japan rendered with formal acuity and a capacious curiosity. The beauty and grace of its culture – from calligraphy to ike­bana – are matched by the awesome power of its land and seascapes, which oscillate, in a post-tsunami imagination, between time and place.

From the Japanese countryside, we travel to rural Australia along Coorow-Latham Road (Canada).In a radical recasting of the long take, Blake Williams reconstructs the eponymous route using Google Street View, producing a vapourous road movie in which our perspective gradually shifts. Both elegant and visceral, it is an internet-sourced work of structuralist cinema.