Images from Basel, Scope, Nada, Seven, Fountain, RiffRaff, Rubell Collection, de la Cruz Collection, Locust Projects, Primary Projects, Spinello Projects, Salem at the Delano, and one director getting her gallery ink. Click images to enlarge.

Artcards London Presents is an evening of performances, video and music by London based artists, curators, writers and performers. The event will showcase a presentation by Incognitum Hactenus and will be documented through a live broadcast that will be streaming on This Is Tomorrow’s website.

Event date: Wednesday, December 14, 2011
Location: Netil House, 1 Westgate Street, London E8 3RL
Time: 7:00pm – midnight
Organizers:
Sonel Breslav, Editor, Artcards London
Tom Trevatt, Editor, Incognitum Hactenus
Admission: BYOB, £2 suggested donation

The programme includes:
INCOGNITUM HACTENUS presents:
Lions
Simon Clark
Gandt
a/tt(a)c
and a screening of Re-Animator, 1985, dir. Stuart Gordon – based on a ‘Herbert West, Re-Animator’ a short story by H.P. Lovecraft

Incognitum Hactenus is a new quarterly journal featuring writing on art, horror, and philosophy. Conceived as an ongoing investigation into each sphere and its crossovers, the journal publishes new work by leading international scholars, artists, filmmakers, curators, musicians, and designers. With a focused interest in that which finds an affiliation with horrific contemporaneity and the exposure to radical thought, Incognitum Hactenum reveals the twisting of contingency (that which comes from outside) as it produces new monstrosities. We aim to tear asunder the fleshy belly of the established and expected. Editors: Caryn Coleman and Tom Trevatt.

THIS IS TOMORROW
Online Magazine and comprehensive archive of contemporary art based in London. International contributors review exhibitions in London, New York, Venice, Berlin, Paris, LA, and Vienna.

LIME HEADED DOG

ALASDAIR DUNCAN

LAURIE INNES
Spoken/sung monologue from his work in progress; ‘Alan Turing Did Not Die In Vain

Tracey Emin, Artist, London
Jerry Gorovoy, Louise Bourgeois’s longtime assistant, New York
Nancy Spector, Deputy Director and Chief Curator, Solomon R. Guggenheim Museum, New York
Moderator | Ulf Küster, Curator, Fondation Beyeler, Riehen/Basel

It Pays My Way and it Corrodes My Soul, 2011, Performance by Stephen Cornford(UK) and Paul Whitty

Last Saturday LEAP, the Lab for Electronic Arts and Performance, launched a new bi-monthly series called Body Controlled, presenting
artists dedicated to performance art and exploring sound using electronics and other art forms. For its first installment titled, Other Spaces, the artists used the dynamic of preexisting architecture and virtual spaces as a point of departure for work on display through December 2, 2011. Highlights of Saturday’s inaugural event included Robert Henke’s twelve-hour installation/performance, Microsphere. Well known within both academics and club culture Henke has been involved in negotiating the evolution of computer based music for decades and helped pioneer today’s standard software for live performance, Ableton Live. While I only stayed for the first two hours of his set visitors were welcome to pass by until mid-morning the next day, breakfast was apparently served in the final hours. During the time I was present I took notice of Henke’s peaceful performance demeanor, the invisible anxiety that permeates most was non-existent. His expert execution allowed sounds to develop within the space breaking down typical audience-performer barriers. Focus returned to the audience and the space as Henke took short smoking breaks and even ate some grapes while he played at what looked like a recording station from the future. Massive cabling protruded from the back of a desk that was under lit by a florescent red tube and a carefully rigged computer screen floated, suspended from the ceiling. Fluctuating between listening to the development of sound, Henke added various traditional and non-traditional instruments to the mix and their play back became part of a developing new sound and spatial atmosphere. Continue Reading More »

Once when I was a kid, I decided to rub two magnets along the surface of my mother’s computer. The technological myth proved true and her hard drive was wiped completely. In similar form, McKeever Donovan’s New Work explores the affective capacities of seemingly empty decorative archetypes. Donovan utilizes this space to provide the simultaneous conception and exploration of a blank slate from which his compositions emerge.

The on-paper layout of the show is as modest as the aesthetic of its comprising works. Small magnets float on the surface of three framed monochromes. A sculpture comprised of metal tubing rests on the floor atop two bath mats. The color options are equally basic. Khaki, indigo, grey, primary blue and red; a dominant presence of utilitarian décor reinforces an investment in aesthetic accountability. Donovan’s this-and-not-that approach to material selection provides a grounds for divorce from the immediate ready-made coding of the hardware store vocabulary, enabling closer engagement with the virtual-rendering capacities of its signified(s). Monochromes and bath mats serve as ground for the material gestures of magnets and tubing. These gestures mark identity and form within their respective decorative grounds, wresting affective impact from formal composition. Continue Reading More »

101/exhibit

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