Absolutely amazing! The joyously unnerving theatricality of The Rocky Horror Picture Show meets the beautifully astute voyeuristic observations of Amélie forged with the freedom of imagination let loose in The Blair Witch Project — this is no ordinary exhibition...

Never before exhibited in the UK, five installations spanning the career of Berlin-based, Canadian-born collaborative artists Janet Cardiff and George Bures Miller fill the five exhibition spaces of Modern Art Oxford until January 18.

One of the most physically immersive exhibitions I have ever experienced, the more you allow your senses to explore the space, the more intriguing, enjoyable and at times terrifying the experience. "This isn’t the film I thought it was," a voice whispers in your ear during The Muriel Lake Incident; truth is, this exhibition isn’t the experience anyone thought it might be... and it’s individual to everyone.

As you lean in to take a closer look at The Dark Pool, inset centre, carefully choreographed lights, sounds and mechanisms are triggered, revealing yet more of the fictitious worlds presented in this exhibition.

A sense of captivating seduction imbues every gallery space, be it through detail, light or sound.

Often the exhibition guide/brochure/pamphlet (whatever) is a useful tool; but in this case, it’s too dark to read it, and the experience is so immense that aside from the odd insightful bit about the "artists’ inspiration" (which you can read at home anyway), I’d advise sticking it in your pocket and getting stuck in to this exhibition, enjoying it as instinctively as the artists appear to have done making it.

Indeed, according to Janet Cardiff: "Making art is often an intuitive playful state… where meaning is never constant, where one reality would blur into another." Mmm.

While omnipresent, this sentiment appears most clearly in Road Trip, inset top. A gradual revelational journey through a fragmented story of unknowns; distorted by time and impregnated by a distant sense of familiarity that reigns supreme through the entire exhibition, but what’s true and what’s not… if anything, it doesn’t matter, it’s up to you, and for that reason, it’s incredibly engaging.

"I love libraries because of the layers of time and meaning they contain,” adds the artist. “I like how you can escape into other worlds in a library, how when you open a book, you’re somewhere else."

And where could be more apt to site this exhibition than in Oxford, the home of the Bodleian Library... and Lewis Caroll (think Alice in Wonderland).

"I’ve always loved to escape," she adds. "Whether it was through walks, books, films or dreams, and its only now that I realise what I’ve been doing this past decade. I’ve been creating portholes into my other worlds."

Through these 'portholes' the viewer sees scenes in part familiar, somewhat reminiscent of something, somewhere once… but what?

This is storytelling where the viewer is left to make up his or her own story.

They say every book tells a story, yet in The House of Books Has No Windows the books are closed, but you can get inside and look around, and I highly recommend you do.