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Hanna Kristín Birgisdóttir’s exhibition Silent Act comprises of two sculptures, both of which are somewhat confounding in their material form. A squared-off length of timber sits atop trestles, its ends covered in soil. Some of the same material has dropped to the floor. A circular hole runs along its internal length. Nearby are two rods, which also bear evidence of the soil on their surface, and are mounted on the wall. Across the gallery, on a shelf, is a long cylindrical deposit of soil. The back length of the gallery has been transformed into a bricolage tennis court; its net appears to …