E L Palmer’s novel Luxury Complex (Impress, 1972) depicts a 21st century upmarket housing development, built on the grounds of a derelict children’s hospital, part of a secret programme to convert public health facilities into secure residences for the wealthy. As the new owners move in, sentient spores of black mould begin to seep through the walls of their luxury apartments, and on into their dreams. Contagion becomes parasitic control and gentrified apocalypse ensues.

A forgotten but prophetic pulp horror, Luxury Complex apparently predicted the true story of ritual abuse at the heart of London’s contemporary property market. Cradduck, Hulson, Kenning and Sharp interpreted and adapted the tone and tale of Palmer’s forgotten novel as an exhibition.

‘Luxury Complex: Remembering Satan’ was an exhibition as serialized novella, degenerating over four consecutive weekends. Its meta-narratives were stimulated by parody, pareidolia, hypnotic regression and mimetic contagion.




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