In fact, we're standing in front of one, Limbs of the Superheroes (the severed, muscly arms of Masters of the Universe figures, set in resin, pounds 450- pounds 550) - it's quite nice Brian wins always with his sense of irony.'Indeed he does. Eno, the show's curator, operates as usual in the narrow area where wit and irony teeter on the edge of cynicism, something he's at pains to forestall here. 'The biggest crime in England,' he acknowledges, praising the bravery of the contributors, 'is to rise above your station. Sell chemical weapons to dictators and you'll probably get a knighthood, but the moment a pop musician picks up a paintbrush, or a model writes a book, then the knives will really be out. It is symptomatic of English culture, I think, that we've developed cynicism and sarcasm to an extremely fine art. It provides us with some very interesting television shows and some very good comedians; but unfortunately, when it's generalised across a culture, it creates a culture which is prohibitive and restrictive.'For Eno, the War Child initiative is important as a fund- and attention-raiser about the Bosnian situation. 'But what's equally important is that it's a morale raiser for the people in Bosnia: what makes a huge difference to them is knowing that they haven't been completely forgotten.

They're Europeans, they know all these musicians, they've got Underworld and Paul McCartney records, and to know that these musicians have a little thought for them makes a big difference.''little pieces from big stars': Flowers East Gallery, 282 Richmond Road, Hackney, London E8 to 9 Oct. Auction: 9pm October 4, at the Henry Moore Gallery, Royal College of Art, Kensington Gore, London SW7(Photograph omitted). Dundee Rep and Edinburgh's Royal Lyceum are attempting an ambitious double whammy with co-productions of two international hits, Brian Friel's Dancing at Lughnasa and Ariel Dorfman's Death and the Maiden, which swap cities later this month. Kenny Ireland's production of Dancing at Lughnasa evokes the emotionally claustrophobic world of five unmarried sisters in 1936 rural Donegal with confidence and sensitivity. That summer's chief significance was not the expectation of the harvest dance hanging over Ballybeg 'like a fever' but the looming possibility of the household's break-up. Dermot Hayes' lyrical set, with its smoking chimney stack and towering trees boasting thick green astrakhan clouds of foliage, lends just the right air of ambiguous reality.