The Prenelle Gallery presents a group exhibition entitled Football to coincide with the World Cup. The World Cup has the potential to move people like no other global event. Whether through images of free play and spectacle, nationalism, crowd violence or crowd surveillance, for one month every four years football dominates the cultural landscape. "Football" is an exhibition of contemporary art which critically engages with these and other issues thrown up by football and the World Cup.

Sam Dargan treats the subject of football obsession with humour and poignancy, reflecting the highs and lows of experiences shared by many thousands of fans; the exaltation and escapist fantasy versus the loss or waste of life/time involved in living for football.

Ben Cook creates found paintings using fabric which was originally destined for the manufacture of replica football shirts, discarded (and selected by the artist) because of faults or misalignments in the pattern.

Sarah Jones’ series of images, "formation" appear as hieroglyphs scattered across a black surface. The distribution of marks suggests an order which is not quite random, forming emergent images from underexposed photographs of football crowds shepherded and controlled by policemen whose reflective jackets glow in the artificial darkness, barely intelligible but lingeringly familiar. Sarah is also showing a crowd scene installation entitled "See".

Jessica Voorsanger has assembled a shrine-like installation to Michael Owen using a combination of fan-made objects (birthday cards) and artist made objects (imprints of football boots).

Mark Richards makes sculptural multiples of Cantona busts. Eric Cantona represents a pivotal point in English football, a new way of thinking about and glamorising football, the ferocious onslaught of football marketing and merchandising and the creation of a comodified and consumable football celebrity. This is a process which has culminated in the Beckham frenzy of today. This production line of glory is uncannily captured by the cloned repetition of pompous classical hauteur, the paradox of a cult individual infinitely replicated.

Tim Meacham’s kinetic installation ‘Home and away’ uses the miniature football strips usually found suspended from the rear view mirrors of XR3I’s. Here they are condemned to dance an unending but hollow celebratory ritual, pelvic thrusting, tethered and impotent.

Luke Oxley is showing work based on spoof Football media and the stereotypical conventions of language used to talk about football, or about art. These conventions restrict and control what is said or experienced, deflating the memory of an experience into a hackneyed repetition.

Oliver Macdonald’s site specific installation occupies the upper deck of the boat. Including two squads each of eleven lawn mowers, a garden shed tunnel and a turfed pitch. With the two teams in the tunnel waiting anxiously to come out on to the pitch, his work alludes to the divisions between rich and poor which are visibly manifest through the inequalities between footballing nations, teams, players and fans.

Kevin Wayne is showing altered subbuteo players. ‘Gateshead’ features a goalkeeper in the form of Gormley’s Angel of the North, a funny but poignant play on iconography and regional identity.

Laura Green’s paintings of Highbury and Fulham football grounds present idealised and depopulated images, semi-abstracted by their extreme perspective and bold colours.

Costa Gargaletsos is the in-house designer at Prenelle and creates iconic collaged images which confront the football obsession.

Andrew Peter Lane presents a selection of his open series of photographs of street and park football games from around the world.