Schottenfeldgasse 45, 1070 Wien
25 October - 6 November 2018
Wednesday to Friday 3 -7pm,Saturday 11am - 2pm

This year marks the 50th anniversary of the renowned 1968 protests: The global rise of social collisions, largely distinguished by popular rebellions opposing bureaucratic elitism and the military, who in return counteracted through the act of political repression.The protests allowed for countless socialist movements to prosper, to realize actions and make an impact within Europe, while simultaneously, social movements were spreading in the USA, Europe, Mexico, and Brazil. 50 years later, the 1968 riots and revolts generate pressing concerns as political climates once again veer towards a growing inclination of right-wing fascism.

The global rise of right-wing populism tactically incorporates tropes of mystification generated through post-truth prevalent in fake news, propaganda and corruption. Such a precarious masking of the real, which has made a substantial return in politics and elsewhere, can be understood as the spectacle seen through Guy Debord’s 1967, ‘Society of the Spectacle’. Not being a “collection of images, but a social relation among people, mediated by images,” the spectacle slithers into every crevice of life by commodifying it, creating collective alienation.

Today the moment of alienation has been shift to the phenomena of complacency. The pleasant state of complacency brought many to secretly wish for a comfortable, illiberal, authoritarian, corporately maintained society where one does not need to think and dream about the future because tomorrow is cancelled. The polemic question; are we just secretly yearning for a fascist illiberal society that never changes? A dictatorship crystallised in time and space, basking in memories of past glories haunting us like ghosts from a Cambodian Hell can be posed. This exhibition will look into the edges of this discourse, anchoring it in the notion of fear and complacence. The works presented in the exhibition Tomorrow is Cancelled, take into account collective complacence in a world where the degradation of knowledge bleeds into a blindness towards critical thought where everything turns into homogeneous robotic feelings of unconsciousness and political ambivalence.

Tomorrow is Cancelled is the exhibition realised in the framework of the Curators’ Agenda, an annual curators-in-residence program organized by BLOCKFREI association in partnership with the University of Applied Arts Vienna. The program is supported by the City of Vienna and the Seventh District. The challenge of the show lies in the input and collaboration of a group of international curators developing and producing the exhibition together during the six-week program.

Maximiliane Leni Armann Another State of Matter, 2018
Armann is a multimedia artist working with photography, video, 3D animations and found footage to navigate the intersection between the analogue and the digital. In doing so, she creates a new aesthetic that reflects the moment when reality and artificiality blur, alluding to a new disturbing digital existence. In this work, she depicts a person swimming into various black and white dimensions, rhythmically exploring different planes in an isolated environment. Armann’s work moves beyond the discourse of commenting whether new technologies offer a utopia or not- the world presented to us in her work removes collective experience and instead suggests infinite alternative possibilities such as accepting our new technological condition.

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Nicoleta Auersperg Tambo, 2018
Aluminium, steel, paint, tape, water, milk powder, 64 x 44 x 110cm
Auersperg’s practice focuses on the specificity of materials, investigating their character and origin, believing in their potential to change. She interrogates the potential for change through performative sculptures and installations, making this idea of potential become manifest. Her work Tambo, is an elliptic aluminium container that is split in the middle with a fine plank of wood separating milk powder and water. In their rawest form, these materials imply both past and future states.

Marie Yael Fidesser Komposition 11 and 12,  2017-18
Silver gelatin print, film positive, 125 x 153 cm
Fidesser is a multimedia artist whose practice engages with performance, photography and sculpture. The two works included in the exhibition explore ideas of binaries;  compositions of 18 geometrics shapes are photographed with a large format camera and the negatives placed onto an undeveloped film from which the positives also emerge. This image of the film, negative and positive is then enlarged and projected, resulting in a sphere on the light sensitive paper. Reminiscent of constructivist geometrical language, the artist plays with light and spaces to create a new language of voids and volumes.

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Lisa Großkopf
The Photostudio 2018
Diasec 100 × 160 cm
Großkopf is a multimedia artist and her practice explores performance and activism using conceptual and experimental methods. A recurring theme in her artwork is the tension between private and public space and the question of how society understands its surroundings. Großkopf challenges the way of viewing everyday objects, images as well as ideas. For her work "The Photostudio" she turns the windows of vacant shops into fictional photographic studios to display counter-hegemonic queer imagery. Considering that shop windows of these studios usually portray a traditional, hetero-normative image of families and stereotypical gender roles of men and women, Großkopf addresses and re-negotiates these gender norms and presents them side by side in the compressed space of the public shop window.

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Elizaveta Kapustina Reality/Digitality 2018
Video, instagram profile displayed on Iphone 1136 x 640 pixels “Ultra” @extra.ultra is Kapustina's alterego that came to life on Instagram in 2017. This fictional character is intended to be a grotesque reflection of popular culture in the digital age. The artist uses a combination of photography, painting and video to explore social media’s influence on human behaviour.

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Gašper Kunšič Asleep, 2018
Pigment print on paper, 90 x 60 cm
Kunšič’s practice poses existential questions of the millennial generation using vocabulary drawing from advertising, socialist realism, Slavic heritage and architectural elements rendered through graphic imagery. He experiments with painting, sculpture, installation, and print media creating situations which encourage the viewers to rethink the patterns of contemporary life. Asleep is an enlarged image of the warning referring to the risk of impotence found on some cigarette packets. Even though we are meant to be repulsed by this image, the portrayed figure embodies the aesthetic qualities of the high renaissance which would not be out of place on the Sistine Chapel Ceiling, yet here we find the subject withdrawn in a foetus like position of rest or fear, which could be read as reflecting societal escapism or the contemporary state of paralysis caused by an uncertain future and a yearning for safety.


Marlene Lahmer
Non-Human Response 2017, text and performance
One Trap Beyond 2018, glass, 5 x 5 x 10 cm.
Lahmer is a performance and multimedia artist whose practice uses language to explore concepts of personal and shared identity. Her performance for Tomorrow is Cancelled is “I” to “you” a spoken word poem that is loosely based on Donna Haraway’s ideas expressed in A Cyborg Manifesto. She argues that the cyborg is a model suitable for social paradigm shift asking the audience to question hierarchic definitions of culture, nature, gender, reproduction, etc. Likewise, the speaker of the poem becomes a revolutionary figure who introduces thought categories beyond the human. “You” represents the old societal norms. One Trap Beyond consists of a little figure fixed between two mirror panels held in place by a clamp. It explores the concepts of repetition and permanence. Influenced by the works of two of her artist friends, the artist investigates ideas of words, scale, play, and spying in this work.

Anna Lerchbaumer
Him, 2018, HD video, sound, variable dimensions.
Spinning Around, 2018, HD video, sound, variable dimensions.
Lerchbaumer is a sound and video artist whose practice applies humour in order to explore the effect of new technologies and hypermodernity on our environment. Him is a playful take on the 2013 film “Her”, which features Joaquin Phoenix in a romantic relationship with his operating system, voiced by Scarlett Johansson. In this work the artist transforms the HER into HIM, not only flipping the gender but also removing the humanisation of technology. The artist questions the reproduction of gender stereotypes in technology (Siri, Alexa), revealing the algorithms that are designed to invest in relationships with our devices.  Spinning Around is satellite footage of the devastation caused by hurricanes. Accelerated climate change has resulted in an ecological crisis which is met with limited concern and redressal. This complacency is made ridiculed by humorously layering Kylie Minogue’s famous pop song over the images, adding farce to the black mirror state of affairs the world has got itself into.

Esther Martens Gold Digging 2018
Latex, 165 x 114 cm
The work references a Nike t-shirt from the 2012 Olympics which was an attempt to capitalise on the historic efforts of the US women athletics team, motivating them to aim for gold. Predictably, the provocative quote on the t-shirt caused a scandal for being sexist. The artist explores the way brands endorse and limit a woman’s worth to beauty ideals. Latex was chosen as a material for its resemblance to flayed skin and the format of a t-shirt as a satirical comment that labels are not as easily removed as clothing.

David Meran Kunstverpackungen (Art Packaging) 2018
Plaster, 35 x 25cm
Meran's practice investigates our environment as a changing constructed reality. This plaster cast of bubble wrap is one work from a series that subverts the principle of packaging, questioning what would happen if the protector (packaging) became that which needs protection. In this alternate world, this found fossil of plastic becomes rare and monolithic, warranting museum standard preservation.

Darja Shatalova W(VG H) 2018
Markers on acrylic, 6 cubes, 48 x 48 x 48 cm
Originally a trained mathematician, @darja.shatalova 's artistic practice uses codes and algorithms to give us a new understanding of the world around us. Her practice is site specific and this piece was created during her most recent exhibition in Hamburg where she mapped the movements of passers by on to transparent overlapping sheets. These maps were then cut and put together to form cubes. In #tomorrowiscancelled this work deconstructs what is behind the idea of the contemporary "Spectacle" revealing the patterns of authority that dictate our behaviour, questioning the institutions that we abide by.

Peter Várnai
Installation with Time No.1, 2018
Mechanical installation, 50cm x 50cm x 8cm
Várnai is an installation and media artist influenced by the Surrealists and global political injustices. His work for the exhibition comprises two clocks that have been rewired in a way that their hands never collide. Using the red and black squares with sharp lines reminiscent of constructionism, the dissected clock motors seem like they are engaged in a romantic relationship and dance around each other not fulfilling their predetermined purpose, the work reflects on questions of societal norms such as the institution of time, and finding beauty and meaning in the absurd.

installation shots:

opening party: