DIANN BAUER & AST | AMANDA BEECH | MELANIE JACKSON
PIL & GALIA KOLLECTIV | CLAIRE POTTER | TAI SHANI
LINDA STUPART | LYNTON TALBOT | AYESHA TAN JONES
CURATED BY KIRSTEN COOKE
11 JANUARY – 10 MARCH 2019
A scaffolding structure will pierce the dividing wall at IMT gallery; the partition acting as a mirror that reflects the physical diagram across the two spaces.
Its anatomy is already doubling, self-replicating across the bifurcated gallery.
Snow Crash is a speculative architecture for alternative infrastructures that is flexibly built to respond to the artworks it houses. Artworks that exist in tension with the framework and will impinge on it, spill out from it and will be performed in and around the physical diagram. Assembled out of scaffolding, Snow Crash renders its own configuration visible and provisional, with the potential to be reformulated and adapted to future contexts. Snow Crash’s diagrammatic structure facilitates the ability for the autonomous artistic practices to go off in different directions but to reside in one place, enabling us to consider the complexity of the collective and the equally complex infrastructures that could support it. Snow Crash produces a project that thinks of itself as a scaffold, as opposed to a container, and as result has the propensity to suggest alternative and expansive forms of viewing art.
? Kirsten Cooke and Melanie Jackson | Snow Crash | 2018 | GIF
AT IMT GALLERY: AFTER THE ICE, THE DELUGE (THE AWAKENING)
LINDA STUPART | PERFORMANCE
THURSDAY 7 MARCH 7 – 9PM
… always winter some strange reason . . . long hours of darkness . . . now this . . . this . . . quicker and quicker . . . the words .
… always winter some strange reason . . . long hours of darkness . . . now this . . . this . . . quicker and quicker . . . the words…
Climate change is melting permafrost soils that have been frozen for thousands of years, and as the soils melt they are releasing ancient viruses and bacteria that, having lain dormant, are springing back to life.
In a 2005 study, NASA scientists successfully revived bacteria that had been encased in a frozen pond in Alaska for 32,000 years. The microbes had been frozen since the Pleistocene period, when woolly mammoths still roamed the Earth. Once the ice melted, they began swimming around, seemingly unaffected.
Climate change is melting permafrost soils that have been frozen for thousands of years,
Two years later, scientists managed to revive an 8-million-year-old bacterium that had been lying dormant in ice, beneath the surface of a glacier in the Beacon and Mullins valleys of Antarctica.
To recap, dormant bacteria, including viruses we have never encountered before as a species are surfacing from ice caps melting pools.
Climate change is causing polar alien viruses to rise to the surface. One answer to the question of why we haven’t met any aliens on earth yet, is that aliens are destroyed in extinction events; i.e. we haven’t met any aliens yet because all the aliens are dead.
LINDA STUPART | WORKSHOP
SATURDAY 16 MARCH 2019, 1 – 5 PM
When we talk about or make images about climate change or ecology or environmental collapse, or even just about ‘nature’, we often act as if we are talking or making images about something outside and separate to our bodies. This workshop uses found, recycled, digital, and everyday materials to make art about our bodies as borderless, particularly in relation to the ‘outside’, to nature, gardens, and so on.
AT IMT GALLERY: RICH CURTAINS: PERFORMANCE OF STILE
CLAIRE POTTER | PERFORMANCE
SATURDAY 9 MARCH 2019, 6:30 – 7:00 PM and 7:30 – 8:00 PM
Artist writer Claire Potter will perform a newly written monologue, Rich Curtains: Performance of Stile, on March 9th at both 6:30pm and 7:30pm. The performance is the second part of a new commission for the exhibition in which the artist considers the difference between provisional and preliminary structures in relation to the common rural boundary crossings—stiles.
In the margins of the gallery’s second room, a series of garishly coloured and individually drawn planks, nails, and wires, are installed to form a poorly-assembled, impractical, and upside-down stile. This installation, titled Rich Curtains Pending Performance, becomes the subject of critique within the spoken live work, and is discussed in relation to narrative time and fiction writing—which includes all the tv programmes watched during the making of the work, like detective series Luther, and that one about the old woman in Alan Bennett’s driveway.
AT IMT GALLERY: IN CONVERSATION WITH DIANN BAUER, KIRSTEN COOKE & LYNTON TALBOT
FRIDAY 1 MARCH 2019 6 – 9PM
The franchise and the virus work on the same principle; what thrives in one place will thrive in another. You just have to find a sufficiently virulent business plan, condense it into a three-ring binder – its DNA – Xerox it, and embed it in the fertile lining of a well-traveled highway, preferably one with a left-turn lane. Then the growth will expand until it runs up against its property lines.
Neal Stephenson, Snow Crash, London: Penguin Books Ltd., 1992, p.178
Neal Stephenson’s novel Snow Crash is set in a fictional future America, in which all land has been privatised and each area/suburb is run by a franchise. There also exists an online platform, the Metaverse, in which hackers code the information, which informs the franchises that run the physical world. This bipartite landscape, which is governed by visible security and invisible codes, is open to exploitation and the figure L. Bob Rife emerges as a dominant CEO of information systems, who is setting up his own extra-territorial community on a floating raft. Rife’s plan is to insert a virus into this vulnerable copied and pasted monoculture, so that he can completely control the literate (hackers and coders) and illiterate (non-computer specialists) population.
This talk will engage with the invisible infrastructures that organise our contemporary environment and, therefore, our subjectivities and horizons. Kirsten Cooke, Diann Bauer and Lynton Talbot will discuss how Snow Crash the exhibition manipulates the monocultural language of infrastructure space. Constructed out of scaffolding materials, Snow Crash’s curatorial structure and framework acts as a diagram for a provisional infrastructure. Within this structure, Bauer and A.S.T.’s work interrogates the fictional narratives produced by infrastructure space, while Talbot’s approach to writing proposes texts as performative fragments within the discursive space of the exhibition environment. Bauer’s practice looks outward at the mechanisms that wire the contemporary landscape and Talbot’s work looks inward at how language codes the exhibition experience.
AYESHA TAN JONES | WORKSHOP
SATURDAY 2 MARCH 2019, 12 – 4PM
MIn Act ii of Apocalypse survival school ( act i took place at Nottingham Contemporary in Jan) we will work with astrological herbal wisdom, queering song/storytelling, and re-interpreted ancient crafts for an optimistically dystopian view on survival.
Inspired by Ayesha’s alter ego, Una Jynxx, the mystic blogger turned EMF conspiracy theorist, we will think about ways in which we can protect ourselves from harmful radiation such as EMF and bluetooth radiation, and we will focus on herbal knowledge for toxin/digital cleansing, and collectively re-forming myths.
Using games and movement, the workshop aims to help participants see themselves as part of an inter- connected web, that our bodies and energies are independent, yet the syngery between them is vital for a positive, co-existing future.