Albert Speer, or, ‘the Nazi who said sorry’, is famous for his architecture under Hitler’s regime and particularly for his Cathedral of light, the main aesthetic feature of the Nuremberg Rallies, which consisted of 130 anti-aircraft searchlights, at intervals of forty feet, aimed skyward to create a series of vertical bars surrounding the audience, a fantastical cage of light, from inside and outside the rallies.

A mirror ball is revolving slowly on a silver chain, smoke from a smoke machine making it hard to see. Four pin-spots in 4 opposite corners project light at each other, forming a 3 dimensional X, marking the mirror ball at the centre and refracting on to the six surfaces of the YoungBlackman gallery space.

This particular disco ball has its own history, brought with the artist from Berlin, where, it seems, these seemingly innocuous plays of light have a more sinister history. A slow minimal techno beat further adds to the sadness and the Germaneness of Garnham’s disco ball, his techno, his lights and his heritage.

On commenting on Speer (who got away pretty unscathed at Nuremberg) and his light displays, British Ambassador Sir Nevile Henderson said that it "was both solemn and beautiful... like being in a cathedral of ice."

Jonathan Garnham’s The Winter of my Discothèque is the same, but with a smoke machine, drink and repetitive music.