By Christie Lee / Half-used paint. Paint-streaked trainers. Crinkly plastic drop cloth. Three panels in shades of pink and orangey-red. A scene of unfinished business. But there is also a palpable sense of energy to it. On the wall opposite, an oil painting depicts a row of female nudes ascending the stairs, their bodies half-translucent, their flesh cutting into each other, giving a sense that whoever was there a moment ago had hurried off, leaving behind a trace of their presence. The two pieces could have been by the same artist, but they’re not. While the trainers and panels – meant to evoke “the carnal colour of the flesh”, according to the exhibition catalogue – are part of Pamela Rosenkranz’s Sexual Power (Three Viagra Paintings), the nudes belong to Jana Euler’s Nude Climbing Up the Stairs (2014). It is a liberating but also curious opening for Performing Society: The Violence of Gender, a show that – as one discovers in the proceeding exhibits – puts the systemic violence done to our bodies on glaring display. The exhibition is …