"SHTF" (2018)

Group-exhibition "Letters of Last resort" at the Gallery Damian And The Love Guru, Brussels, Belgium

1. July - 8. July 2018

The work is titled SHTF and stands for; "When the Shit Hits The Fan" which refers to the the total break down of civilization and social order. It Consists of a felted blanket and a silver sided emergency blanket which also called Anti-trauma blanket. On top of these are several other fabric elements, embroided, painted or printed. Size: 300 x 210 cm

This work was a part of the group exhibition Letter of last resort. Letters of Last Resort is a publication, exhibition and performance programme. The project is informed by ongoing research into the ‘culture of apocalypse’. Some of the material included in this compendium was produced specifically for the project while other elements were extant long before this endeavour commenced. Aside from the desire to assemble and disseminate these contributions from artists and writers, another factor motivating this work was the aspiration to initiate a project that served as a testament to the possibilities of collaboration. The development of this project entailed a pooling of energy and resources from the numerous individuals and I’m deeply grateful to all those who contributed. In the face of mounting anxiety and socio-political uncertainty, processes such as this are still truly inspiriting. The title of this project refers to letters signed by the British Prime Minister located on each of the submarines carrying nuclear intercontinental ballistic missiles that constitute the Trident defence programme.

Participating artists: Henry Andersen, Anna Bak, Eric Baudelaire, Tatiana Bohm, Simon Bedwell, Laurie Charles, Anthony Colclough, Liam Gillick, Jenny Holzer, Lukas Müller, Office For Joint Administrative Intelligence (Chris Dreier & Gary Farrelly), Linder Sterling, Parasite 2.0., Suzanne Treister, Frank Wasser, Zero Desk

Curated/Edited by Pádraic E. Moore

http://www.damienandtheloveguru.com/
Rue Tamines 19
Brussels, Belgium
 

The work supported by Danish Cultural Institute, Brussel and The Danish Art Foundation