Following its inaugural success at Tate Modern, 291 Gallery is pleased to announce that The Sally Barker Gallery has taken up semi-permanent residence in the 291 Gallery exhibition space. The S.B.G. has rapidly achieved something of a cult status and its dedicated fanbase are expected to make the pilgrimage to this converted former church building and pay homage once again.

The S.B.G. is the work of artist Sally Barker who, tired of waiting for shows, decided to make her own gallery. Based on her signature and built on a mountain, it houses her retrospective and stands as a breathtaking monument to artistic ego, all on a scale of 1:100.

As well as getting another chance to view all your favourites from Sally Barkers own stunning retrospective, she will launch the second show in her miniature "e" gallery. Jessica Voorsanger’s installation is a hilarious comment on celebrity status: plunging her audience into the spotlight amidst tumultuous applause. The audience may ponder whose fame is being highlighted here: that of Voorsanger, Barker or ourselves? How comfortable are you standing on Voorsanger’s stage and who is the real audience behind the faceless, screaming mass? Pull back the curtain to find out and when you’ve finished massaging your ego on stage, you could go over to the "S" gallery to sit on the Teela throne in the Teela Room. Teela was an intergalactic super-hero character used by Barker in the late ‘90’s to explore issues of power & identity. Voorsanger would have had to drag Teela off her stage; it’s the kind of place she would have taken up residence in.

So the S.B.G. at 291: it’s all about ego.

The Sally Barker Gallery continues its success at the 291 Gallery. The third exhibition at this miniature but monumental space sees two new pieces of work by Mark Titchner.

"The Theory of Everything (Explained)" (2001), is a large scale, text-based wall drawing covering all of the gallery’s wall space. The text takes the form of a somnambulistic rant, incoherent and often poorly spelt which desperately attempts to identify a purpose for existence, only to be constrained within it’s own failure. The work represents Titchner’s most complex wall installation based to date.

Occupying the centre of the gallery is "Criticism!" (2001). A monolithic, featureless black cube housing a powerful sound system, which is in turn linked to a complex sequencing program. Using archival recordings from Titchner’s "Cave of Criticism", which the artist has been compiling over the last five years, the structure spews forth an unrelenting stream of vehement and vitriolic criticism in a virtually infinite number of permutations. The effect of the work is one of bombastic catharsis tempered with hardnosed solipsism.

Tired of not showing her work, Sally Barker created her own model gallery, all 3 floors of beautiful, modernist architecture and built on a scale of 1:1OO. In the style of all true egotists, Barker's gallery sits on top of a mountain, the only access for her public being on the funicular railway. As well as being able to see Barker’s retrospective, there is also a showing space for other artists (the letter "e" in Barker). Proposals from artists for the "e" space are up on the wall.

For those who haven't already seen this piece (Tate Modern earlier this year), a visit to the 291 gallery is a must!