Lauren Kelly

The first thing you see outside the Peer gallery in Hoxton is Black Hands, an installation by Chris Ofili. 

I hadn’t been to Printworks, the six thousand-capacity nightclub and events venue in south London, before this month. I doubt I would have been at all if it weren’t facing demolition. I mostly avoid ‘superclubs’, but the knowledge that I soon wouldn’t be able to go, even if I wanted to, made it more appealing. That’s the lure of the temporary.