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Build your own world with your own drawings and invite friends to join.

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GUTS Gallery 3D scanned shows and studios

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GUTS Gallery 3D scanned shows and studios

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Really easy to use 3D mapping - you can download to your phone

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Immerse yourself entirely in a Guts art exhibition or artist studio with a click of a button. Wherever you are in the world, we are bringing art to you.

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Immerse yourself entirely in a Guts art exhibition or artist studio with a click of a button. Wherever you are in the world, we are bringing art to you.

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The House of Illustration gallery, London, is a home for the art of illustration in all its forms with a year-round programme of exhibitions, events and more

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House of Illustration ONLINE COURSES AND EVENTS

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House of Illustration ONLINE COURSES AND EVENTS

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" Art has always been the raft onto which we climb to save our sanity. " Dorothea Tanning

Join illustrator and educator Merlin Evans for this brand-new 6 week course inspired by Gestalt art therapy and its practices of connecting, exploring and integration as tools for self-reflection and creativity.
During the course you will:

Focus on the three building blocks of Gestalt art therapy: reflection, safety and play (connecting), exploring barriers and blockages to creativity (exploring) and finding authentic expression and integrating learning (integration).

Work with materials including collage, Indian ink, graphite and mixed media to explore different aspects of selfhood in a safe and supportive space.

Make your own mark-making tools, brushes and pens.

Take part in meditations, journaling and exercises inspired by Taoist philosophy's reverence for nature.

Embrace the art of making mistakes, exploring colour theory to create abstract 'mistaken' landscapes.

Engage with conscious and unconscious belief systems to find your unique visual language and overcome creative block.

How the course works:

Live online classes will take place on Monday evenings and include real-time exercises, tutorials, demonstrations, group discussion and feedback (please note that all timings are GMT).

We use Padlet for our courses, where all course materials will be held, including recordings from each week and a student gallery for uploading your artwork between sessions.

Participants will receive handouts a week before the course start date and login details the day before - these will be sent to the email address linked to your Paypal account so please email education@houseofillustration.org.uk as soon as possible from your contact email address if this is different to the one linked to your Paypal account.

You will need:

A4 cartridge paper

Sketchbook or scrapbook (optional)

Scrap paper (optional)

Coloured paper (optional)

Dotted, lined and/or graph paper (optional)

Black 0.5mm fine liner

Black 0.2mm and 0.7mm fine liners (optional)

HB and 2B pencils

Charcoal pencils or sticks

Conte (optional)

Coloured crayons (optional)

Indian ink

Bamboo kebab sticks, chopsticks or sticks from the garden/park

Small set of cheap paintbrushes in 3-4 sizes

Collage materials, e.g. newspapers, magazines or recycling

Scissors

Glue stick

Masking tape

Fixative or hairspray for setting charcoal (optional)

Participants will receive handouts in a Padlet link a week before the course start date and login details the day before.

Please note that while the sessions are inspired by Gestalt art therapy, this is not a therapy programme and the tutor is not a therapist.

Experience: no prior experience needed, but a desire and intent to engage in self reflective practices would be helpful.
About the tutor:
Merlin Evans is an award-winning illustrator, scribe and educator who's been teaching at House of Illustration since 2011. Merlin specialises in medical illustration, and currently holds the post of Medical Illustrator in Residence at the Centre for Performance Science, a partnership of the Royal College of Music and Imperial College London. She has lectured internationally and taught at numerous art colleges, schools and universities across the UK. Selected previous clients include Tate Modern, The British Library, The Design Museum, Central Saint Martins, NHS, John Lewis, Bloomsbury Books, Latitude Festival and Time Out. Read our Q&A with Merlin.
Feedback from Merlin's previous courses:
"Merlin was a fantastic tutor and managed to fit in a load of content without it feeling rushed. Thanks!"

"The tutor was fantastic - very focused, helpful, engaging and enthusiastic."

"You really reminded me what makes a great teacher, finding ways to connect with your students and finding things in common with us, helping us find our passion and be true to ourselves. Thank you!"
Course dates and booking:
This course runs for 6 weeks: Mondays 8 March - 19 April 2021, 6-8.30pm GMT. No class during Easter weekend on 5 April.

The price refers to the whole course, not individual sessions. This course is for those aged 18+ only.

IMPORTANT:Your ticket confirmation will go to the email address linked to your Paypal account. Please email education@houseofillustration.org.uk from your contact email address if this is different to the one linked to your Paypal account.

Any questions? Please check our FAQs.

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Online Course: Illustration and Wellbeing

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" Art has always been the raft onto which we climb to save our sanity. " Dorothea Tanning Join illustrator and educator Merlin Evans for this brand-new 6 week course inspired by Gestalt art therapy and its practices of connecting, exploring and integration as tools for self-reflection and creativity.

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Legendary DIY Comics Festival

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2021 marks the 10th anniversary of the East London Comics & Arts Festival next year and we want to celebrate this! As you know, this past year brought huge changes to all of our lives, and as such, in 2020, we had to rethink the festival's format for the safety of the community. Once again, we'll be changing the way we work for 2021.

We'd like to use the funding we have from Arts Council England to support and commission a number of artists to produce new work.

As such, we are creating a celebratory, 10 year anniversary, limited edition physical pack inspired by the ELCAF Haul (#elcafhaul) - containing printed zines, comics, posters and other goodies created by YOU!
Would you like to be involved? If so please submit a proposal
Your work and proposal will be carefully reviewed by the ELCAF team and if selected, you'll be provided with the following artist fee/budget to create something new:

...and you will also receive a free ELCAF Haul pack!

We will collate, design and print the 10 Year ELCAF Haul in Spring ready for limited edition release in Summer 2021 - it will be available to buy for £10 through the ELCAF website and social media channels as well as at ELCAF's smaller events later in the year!

Your work will hopefully be seen by many in the community and further afield! We will also promote all the work of the artists from the pack on our social media channels and through our small online programme over the next few months.
The timeline for submissions is as follows:
17 Feb - Open Call

08 Mar - Submissions Deadline

24 Mar - We'll be in touch!

12 Apr - Final Artwork Deadline

* Please note : Anyone successful in applying for a comic / zine - please ignore the final artwork deadline above. You will be contacted directly by the ELCAF team to discuss and agree a realistic deadline.

For any questions, please don't hesitate to contact us. Thanks so much and we can't wait to see what you come up with!

Much love - The ELCAF Team

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2021 marks the 10th anniversary of the East London Comics & Arts Festival next year and we want to celebrate this! As you know, this past year brought huge changes to all of our lives, and as such, in 2020, we had to rethink the festival's format for the safety of the community.

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Another legendary graphic arts fair at Somerset House

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Fan art areas at comics conventions

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Epic animation/illustration conference

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Coming May 2024, Pictoplasma celebrates its 20th Berlin Conference and Festival anniversary edition with a special XXL line-up of awe inducing back-to-back conference lectures, freshly curated animation screenings, exhibitions, immersive media installations, networking, art markets, all-night parties, and the very best in contemporary character design!

Tickets now available!

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Pictoplasma - Contemporary Character Design and Art

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Celebrating the best of today's Character Design and Art - with Conferences, Festivals, Books, Exhibitions ... and an Academy!

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Hastings Illustration Festival

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Hastings Illustration Festival (HiFest) will return on Saturday 1st and Sunday 2nd December 2018. Now in its fifth year we will once again bring together an incredible array of guests, workshops, talks, screenings and live events. Stay tuned for more information!

CHECK OUT OUR 2017 EVENT!

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HiFest - Hastings Illustration Festival - Saturday 1st & Sunday 2nd December 2018

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HiFest (Hastings Illustration Festival) will showcase amazing, illustrative talents through stalls, talks, workshops, live drawing, signings and exhibitions.

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Performance / illustration festival. Time based interaction and 'happenings'.

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The Direktorenhaus is excited to present, as a precursor to the Illustrative 2018 in Beijing, a selection of the most exciting illustrators currently living and working in Berlin: Sonja Danowski, Valero Doval, Dean Reynolds, Steven Tabbutt, Chemin Hsiao, Benjamin Courtault, Albane Simon, Mark Bryan, Alex Gross, and Chantal van Houten.

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Last years exhibition unit at UCA Farnham. And associated Instagram https://www.instagram.com/re.vent_uca/?hl=en

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Re-Vent is an exhibition set up by the Year 2 Illustration students of University of the Creative Arts in Farnham.

The exhibition features the work of students who have revised and improved their old projects, exploring them further through reinvention; hence Re-Vent.

2020 has been a tumultuous year for us, especially in our learning development. It's quite inspiring to know that we managed to achieve what we wanted to achieve as a group through perseverance and are proud to share our work with you.

This exhibition is a testament to this group of student's resilience.

Despite all the challenges and changes that we faced, the group has done an incredible job of persevering with their work, and with their group efforts. They've had to respond quickly to change and external challenges, and lean in to failure and set-backs in more innovative ways. They've also embraced teamwork, and learned to communicate with each other in new and complex ways. And throughout all of that they've continued to be ambitious and experimental.

The brief asked the students to engage new audiences in their work, and to think about how illustration can connect, and excite. And I do believe they've done so.

Do take time to dive into the publications, the events and the exhibition itself. These are the results of a term of hard work. We hope you will enjoy them.

Written by Serena Katt

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Re-Vent is an exhibition set up by the Year 2 Illustration students of University of the Creative Arts in Farnham. The exhibition features the work of students who have revised and improved their old projects, exploring them further through reinvention; hence Re-Vent. 2020 has been a tumultuous year for us, especially in our learning development.

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TOKYO ART BOOK FAIRは、2020年11月16日（月）～23日（月・祝）にオンライン上のブックフェアを初開催いたします。国内外からアートブックに携わる約230組の出展者が参加し、展覧会やトーク、サイン会、パフォーマンスなど、バーチャルという新たな領域で、アートブックとの出会いや人との交流が生まれる場を創出します。

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Live streamed talks this year

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Artists Self Publishing/ ASP 8/ Saturday 16th DEC, 2023, 11am - 7pm

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Artists Self-Publishers Fair (ASP Fair)
Saturday 16 December 2023 - 11.00 - 19.00hrs
Conway Hall, 25 Red Lion Square, London WC1R 4RL

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Glasgow Zine Library is focussing on the purpose of engaging people in practice through EVENTS

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Boxing Day is an hour long poetry performance exploring dissociation, anxiety and the mental health impact of indefinitely waiting for gender affirming healthcare. There are 52 poems in the Boxing Day sequence, one for each week of the year. Together, these poems provide a fragmented retelling of the author's experience of transitioning in Ireland.

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Instagram based

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Because we have been more stationary in lockdown I would like to see video clips of people engaging in sports or physical Movement.
Also fashion and clothes I feel have been lost in lockdown, a loss of care in our appearances possibly. Fashion led visuals.

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Educate people!! I think would be interesting to use our practice to educate people on things that they're unfamiliar with? like anything that we find interesting and are educated on, we could use our practice as illustrators to educate people on that topic through imagery and story telling, or anything really.

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A silly emersive vertual reality gallery/ story walk through. Almost like the stage set for a theatre performance scale. Walking through peoples work. And observing as you might in person. If you had the funds and time.

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VR haha like an actual VR headset people wear to be in the space we could have had in real life

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Something that educates and helps people without intimidating them. I would want it to be immersive, something that people would want to come back to like a virtual gallery where its bright and weird. Something that people can add to as well if they wanted to

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I suppose or a walk through like rhe national gallery has.

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To scale animations of people walking round the exhibition walls and interacting with the artwork to add another layer of illustration

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I think it would be interesting to have challenges that involve the audience into active participation over social media, like draw this in your style or similar things

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a virtual space where the audience can navigate round to see everyones work and meet the artists who are represented by a self portrait or character design of themselves. and if you click on the art it transports you into there art world

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loads of workshops and then a space where people can upload their outcomes

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Also, perhaps having a publication that is more like an object, like the deck of cards that we had thought about last year in which each card is a piece by a student, from the exhibition

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Being able to all be immersed in the gallery experience along side the audience so we can communicate with them in the experience

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Having a well-made 3D virtual world created, in which viewers would be able to explore the various types and styles of art. Every section will entail an artist’s world. Acting like a portal, the 3D environment will be similar to a walk, which means the artist’s work will move slowly as the viewer enters. ( work would start moving forward towards the viewer).

But primarily for escapism and to create new worlds, viewers can enter momentarily or whenever they want. But it can also act as a break for people who can’t visit museums physically.

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Where can illustration live?

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Moving into physical space

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Working inside and outside the frame

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'Something happening to the work'

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Performative illustration / bringing characters, stories and questions to life.

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Interrupting spaces in a way that helps audiences understanding them differently

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Performance from home

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https://www.artsteps.com/

Online galleries, some examples already on there, seems really well thought out with building layouts and interesting having 'ghost' users to interact with and chat to as well.

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British born artist Hoagy Houghton has had a turbulent relationship with football. In a serious accident on the pitch at 13, he lost his front teeth along with his love and devotion for the game.

His teeth became the catalyst for this series of paintings, exploring football as a metaphor for life and our perceptions of winning and losing. Through engaging with his own trauma Houghton tries to capture and claim what is deemed a negative experience and through the positive act of creation, reverse it.

Using toothpaste as a painting medium, Houghton attempts to create a new aesthetic linking to his own experience of loss; the fragile material drawing a parallel with the frailties of the human body and the hopes and dreams we build our lives around.

As a collection they attempt to traverse the landscape of football from the smallest of kicks, to the wider concept of football as the most popular sport in the world. Why do we love football so much? It is perhaps only after losing something that we truly begin to question what makes it so important. During the global pandemic of Covid-19, this idea seems more relevant than ever. In the space where the opening of Euro 2020 would have been, Hoagy shares his own revelations of losing the beautiful game.

This exhibition went live on 12th June 2020 at 8pm BST.

Prints of selected works are available here.

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British born artist Hoagy Houghton has had a turbulent relationship with football. In a serious accident on the pitch at 13, he lost his front teeth along with his love and devotion for the game. His teeth became the catalyst for this series of paintings, exploring football as a metaphor for life and our perceptions of winning and losing.

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https://authn.matterport.com//auth/login?target=https%3A%2F%2Fmy.matterport.com/

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Moving into the gallery space

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A narrator walks you through an exhibitions' content.

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Transcript

I: Introduction

Dictionaries define animism usually as the belief in spirits, or as the attribution of conscious life to nature and inanimate objects. Any such definition raises questions concerning the correct boundary between human-made signs and non-human things, and also between living and dead matter, between a subject with a conscious interiority, and mere objects who lack such quality. Since the nineteenth century, anthropologists began to use the term animism for countless cultural practices that they thought failed to draw these distinctions correctly. It was believed that such failure may lie at the roots of all religion.

This exhibition project suggested that the way anthropologists imagined animism has played a crucial role in colonial representations of the non-European world. Decolonizing the term animism means to use it as an optical tool that brings into view the boundary-making practices of modern colonial discourse.

This is the path that will be pursued in the four episodes presented here through the exhibition. Using artworks as guides, we will look at the divisions and boundaries that are at work in museums. We will consider what museums do to so-called animist objects. We will move on to animation, to the effect of the life-like in images, particularly in film. Effects of animation cannot be described only in aesthetic terms. An underlying colonial dimension makes them into what they are. We suggest that modern mass media, such as the cinema, derives its power from the impossibility to contain the collective dimensions of mediation in the categories of Western psychology.

II: Museums as Specimens

Candida Höfer's photographs of museum interiors show museums as if they were specimens themselves. Her photographs do not allow these museums to simply reproduce their authority, but rather expose authority as a rather fragile architecture of gazes, material arrangements, and imaginary constructions of order. With these photographs, the question is raised as to what kinds of cosmological functions museums fulfill.

Museums have a modern and modernizing function, by which the entire world is turned into an image, into the matter of representation. The museum of the modern imperial center seeks to monopolize history. It issues a universal roll call for all "historical" objects in the world-pillaged, plundered, traded and collected. But it is also accountable to a public and no longer private property, and therefore both the constitution of such public and the image of history it constructs will be fiercely contested.

The Pitt Rivers Museum in Oxford is an imperial museum. With this photograph by Candida Höfer we glimpse into one of its corridors. From the simple to the complex, this museum was a display of an evolutionary narrative which put Western civilization at the pivot of history, with the power to classify everything at a safe distance. It is the classificatory divisions-their power and violence-that produce the meaning of imperial modernity. The divisions run between the makers of the image and those captured by the image, and between the alleged great divide separating the modern and pre-modern.

The following image from the same series by Candida Höfer was taken in the depot of the Ethnographic Museum in Berlin in Dahlem. Like the famous drawing in which we can see either the head of a duck or a rabbit, this picture puzzle too produces what is called "perceptual ambiguity," flipping between two possible interpretations. Who acts in this scene, who is acted upon?

In the next photograph from the series we see the backstage machinery employed by one of the largest and most prestigious ethnographic museums, the Musée du quai Branly Paris. A fascinating history of scholarship is associated with its collections, yet it is inevitably steeped in the presumptuous and violent legacy of the vast colonial empire whose center was Paris. What we see in the image is the behind-the-scenes high-tech machinery that is necessary to keep the precious objects held by the museum in their current condition, or to minimize inevitable decay-to isolate them from the flow of time, the circulation of matter, life, and death. The stability, if not eternity, of time that is suggested by most museums is itself a carefully constructed condition, an artifact, and an illusion.

III: The Dangers of Petrification

The Dangers of Petrification is an artwork by Jimmie Durham in the form of a museum vitrine. It is not really what it seems to be-more like a form of counter-subversive doubling. The vitrine holds a collection of stones that have likely met the gaze of the artist upon his wanderings, just like the bicycle parts that jumped at Picasso from the garbage heap to suggest a bull's head.

Richard Hill describes what is going on here as double mimesis: "stones representing petrified objects, which are themselves the stone representations of organic objects." ¹ The handwritten labels next to the stones are also an imperfect mimesis of authoritative museum classification. The handwriting identifies the maker of this museum vitrine as an outsider, who does not know the sources and protocols from which the proper modern authority is derived.

These labels describe the objects as petrified versions of, variously, an apple slice, a loaf of bread, a piece of cheese, a slice of bacon or, a cloud. With the exception of the petrified cloud, they are presented ready-to-eat, perhaps as offerings to the appetites of hungry gazes in search of likenesses, or the desire of half-gods to eat from the fruit of immortality. The tension is all between the hard and the soft, organic tissue and death. Is petrification the fate that awaits us if we follow our appetites? Wherein does the danger reside? There is incorporation in petrification, which is a process of a slow and gradual replacement of organic tissue with minerals. As Richard Hill underlines, "a petrified object is a copy in which the original cannot, by definition, survive the process of reproduction." ² The stone that is described as a petrified cloud sits on a larger piece of paper with a handwritten description, which speaks of the extraordinary circumstances that lead to the sudden petrification of the cloud at the ocean's surface, at the horizon, where heaven and earth meet. Is the cloud not the most transient and etheric of matter, an essentially metamorphic condition, quite the opposite of stones that are permanent, immobile, and insensate? This object and its identification as petrified cloud is incredible, unbelievable; it demands a suspension of disbelief.

Jimmie Durham's vitrine speaks of what we believe stones to be, speaks of their use in architecture and in museums, their claim to permanence and stable knowledge, and restores this knowledge and its objects to the profound uncertainty of knowing-to its abyssal, liminal, and animate character. The metaphors that have become congealed in stones are thrown back unto us: to be frozen with fear and be emotionally hardened. The stones are rebelling against the classifying gaze.

IV: Recto/Verso: Stage/Prison

In the looped film animation Vice / Virtue, which is usually projected into a stack of paper from above, a stage turns into a prison and in spinning acceleration, reverts back again. The artist Natascha Sadr Haghighian says:

A simple drawing of a prison courtyard. Two searchlights scan the yard in slow, circular movements, then the image starts to spin slowly, and then faster. The elements of the drawing are reorganized by the centrifugal force of the spin. When it comes to a halt, the prison has become a stage, while the searchlights continue their movement. Two seemingly opposed concepts of exposure: while one spotlight presumes vice, the other one presumes virtue. While one beam of light exposes in order to punish, the other one exposes in order to reward. Trapped in a perpetual spin, the scenes of crime-and-punishment versus fame-and-reward become conditions of the same segregating machine. Constantly isolating the elements of a congeries and separating them into good and bad, adored and hated, chosen and excluded, criminal, talent, celebrity, outcast, individual, artist. The term "isolate" comes from the Italian isolare, from the Latin insula-island-and means to make someone become an island. ³

V: Statues Also Die

Statues Also Die by Chris Marker and Alain Renais is an anticolonial film that was commissioned in 1950 by the literary magazine and publishing house Présence Africaine, which was then just four years old, and it formed the center of the Negritude movement in the colonial capital of Paris. Présence Africaine was founded by the essayist Alioune Diop, and included celebrated writer-politicians such as Aimé Césaire and Léopold Sédar Senghor. The organization's founding principles from the late 1940s are summarized by V. Y. Mudimbe as a "manifesto and a program" through which the "dignity of otherness" and the voices of a "silenced Africa" could be brought to the very center of French power and culture.

There are numerous reasons to be doubtful of Marker and Resnais' take on African art, because they base their description on the model of an "African philosophy" developed by the Franciscan missionary Placide Tempels, who was a pioneer in acknowledging the cosmological complexity of the culture that surrounded him. He generalized what he learned from the Luba people of southern Katanga (Belgian Congo) to more or less all of Sub-Saharan Africa, and thus challenged the most derisive racist stereotypes of colonial culture. Yet his stated goal remained the conversion of African subjects to Christianity.

Aimé Césaire had this to say about Placide Tempels:

Now then, know that Bantu thought is essentially ontological; that Bantu ontology is based on the truly fundamental notions of a life force and a hierarchy of life forces, and that for the Bantu the ontological order which defines the world comes from God and, as a divine decree, must be respected. Wonderful! Everybody gains: the big companies, the colonists, the government-everybody except the Bantu, naturally. Since Bantu thought is ontological, the Bantu only ask for satisfaction of an ontological nature. [...] In short, you tip off your hat at the Bantu life-force, you give a wink to the immortal Bantu soul. And that's all it costs you! ⁴

This is a film about violence and the metamorphosis that objects undergo when traveling, not only physically, but also in terms of their framing, their classification into the categories of a different cosmology-a conquering cosmology. For the filmmakers, the initial question was one of categorization: Why is African art located in the Musée de l'Homme, whereas Greek or Egyptian art is in the Louvre?

"It is not very useful for us to call it a religious object in a world where everything is religion, nor to speak of an art object in a world where everything is art," the film tells us, thus making clear that what is at stake is the defiance of imposed categories, partitions, and divisions.

VI: The Hallucinating Factory

Capitalism: Slavery is based on a stereographic image of labor on a cotton plantation. The stereographic image is animated digitally by changing back and forth from one image to the other with minimal differences, creating not only the optical illusion of space and movement, but also repeating the standardized monotonous gesture of the slave laborers endlessly. In the backdrop of the image, we see the white overseer on a horse gazing in our direction, his controlling gaze uncannily communicating with the disembodied camera lens.

This is the rhythm, the dance, and the tune of modernity.

VII: A Primal Scene of Cinema

This is a collage by Max Ernst. It is called A Little Girl Dreams of Taking the Veil. Max Ernst here used an illustration that appeared in the popular science magazine La Nature around 1880, and added his own characters and elements onto it.

The manipulated image represents a zoetrope with three-dimensional sculpted birds in varying positions inside. Through a subtle blending of images one bird appears to flee from the "dovecote" and a girl is found trapped inside. Instead of looking from the outside into the revolving drum, she finds herself in the epicenter of it, and covers her eyes with her one hand, while reaching out with the other. ⁵

The art historian Rosalind Krauss wrote about this collage that it captures the viewer "inside the illusion [...] looking on nonetheless from without," akin to a dreamer's consciousness of a dream. ⁶

Let us understand this collage as a primal scene of cinema, releasing the isolated bourgeois interior into the ecstasy of a lost exteriority and a lost "we," however flickering and syncopated it must appear.

Three decades after Max Ernst, Marcel Broodthaers also used nineteenth-century popular illustrations. Broodthaers was interested in imperial phantasies and museological fictions that manifested themselves in these images. Eventually he turned to the caricatures of Grandville.

Grandville's use of the "animal metaphor" exerted great influence on generations of illustrators and animators to come, including Walt Disney. Among his most fascinating drawings we find cosmic visions such as the "planetary bridge," "the secret of infinity."

Marcel Broodthaers appropriated Grandville's satirical images in two slide projections from 1966 and 1968. The 1968 projection Caricatures-Grandville juxtaposed slides of satirical drawings by Grandville and Daumier, with photographs of the May 1968 student demonstrations-or rather, with the stones dug up from the streets of Paris.

In an article, Broodthaers speaks about the iconic building of the 1958 Brussels World Fair, known as the Atomium-a 100 meter tall steel construction designed by the engineer André Waterkeyn and architects André and Jean Polak that represents the model of a unit cell of an alpha-iron (ferrite) crystal magnified 165 billion times: "The Romanticism of the nineteenth century already contains this fantasy that we now confuse with scientific reality." ⁷ And next to it, Broodthaers places the drawing Juggler of the Universe from Un Autre Monde from 1844, and writes:

And what if the juggler lacked aplomb? Let's put our trust in his energy. Atomic energy in the best of taste. This violent caricature of Grandville's is back in the scientific thinking of today after a hundred-year sleep. In the realm of the imagination different eras overlap, the flaws of the infinitely great and the infinitely small are identical. ⁸

VIII: A Song of Electricity

The life force that haunted the imaginary of nineteenth-century Europe was partly an oppositional effect of disciplinary measures, a return of the repressed, and partly fueled by techno-scientific mobilization and its biopolitics. The closest equivalent we get, then, to a pervasive life force in nineteenth-century Europe is energy-and especially electricity.

Electricity seemed to carry a promise of a victory over death.

This is derived from Avery Gordon's contribution to the exhibition and catalogue:

By the late nineteenth and early twentieth century, Mary Shelley's Dr. Frankenstein, grievously troubled over his usurpation of the divine powers of creation, has been replaced by Edison's Tower of Light. ⁹

Electricity was a key technological and symbolic medium to modernity's presumptive progress. Cinema played an important role in justifying and normalizing this way of life. [...] Thomas A. Edison Inc.'s propaganda films for the Spanish-American War made by William Paley, for the Pan-American Exposition, and for William McKinley's presidential authority (his inauguration, death, and funeral)-are only the most literal examples of Edison's particular contribution to this cinematic project. ¹⁰

In September 1901 Leon F. Czolgosz shot President William McKinley, who had started the Spanish-American War.

Czolgosz was the 50th person to die in the electric chair in the state of New York. Edwin Porter's reenactment of his execution for Thomas A. Edison Inc. marked the culmination of Edison's opportunistic involvement in electrocution. The first electric chair was built by Harold Brown, then secretly employed by Edison, and introduced at Auburn prison in 1890 to replace hanging as the principal form of capital punishment. [...] The sober representation of Czolgosz's execution-swift, seemingly without pain or bodily mutilation, a model of rational efficiency-contrasted sharply to the reality of electrocution. [...] But then, Execution of Czolgosz, with its touted panorama of Auburn prison, was less an argument for or against electrocution than it was an example of electricity in the service of the restoration of a social order momentarily disrupted by the killing of the President of Progress, Industry, and Empire by a self-proclaimed anarchist. ¹¹

IX: La Machine Animale

Etienne-Jules Marey-physician, physiologist, cardiologist, student of hydraulics, and pioneer in such diverse fields as medical measurement, aviation, and photography and cinema-developed numerous instruments for the recording of bodies moving through space and the mechanical work of energy systems. His earlier work is known as the "graphic method," which he used to translate motion into notation. Later, he employed to photography for his purposes. Alongside Eadweard Muybridge, he developed chronophotography, which made possible a rationalization of the body's movements and a science of fatigue. He paved the way for the labor efficiency studies of Frank Gilbreth and Fredrick Taylor, after whom Taylorism was named. The image of the zoetrope used by Ernst for his collage featured the motion studies of Etienne-Jules Marey. It was Marey himself who sculpted that series of plaster pigeons in order to present his motion analyses in a giant zoetrope for the Académie des sciences in 1886.

The zoetrope was used by Marey in the 1880s following the phenakistoscope, which he used to animate the images obtained with a photographic gun. This "hunting rifle" was a further development of the "astronomical revolver" developed in the Paris astrophysical laboratory by Pierre Jules Janssen, which Marey understood as making possible an integration of the element of time into the production of precise images of motion. Built in 1882, it would provide a dozen images in a second, with a shutter speed of 1/700th of a second. Marey's photographic gun hinted at the fact that his motion studies would also make his moving objects into potential targets, and thus links an actual power over life with the symbolic triumph over death in synthesized movement. ¹²

X: Tusalava

Len Lye grew up in New Zealand and lived for short periods in Australia and Samoa among other places, before settling in London in 1926. Lye was one of the few people within European avant-garde circles who knew the indigenous culture and art of New Zealand, Australia, and the islands of the South Pacific. The film Tusalava, made between 1927 and 1929-and considered a milestone in the history of animated film- stages a creation story with mythical-hallucinatory and biological-morphological elements. The title is a Samoan expression for something which remains eternally the same, signifying that everything comes full circle, that things are bound to return.

Employing over 4,000 drawings, the film depicts the development of abstract forms resembling cellular organisms to more complex shapes and even a human figure-described by Lye as a "totem of individuality"-and a "cross between an octopus and a spider," emerging from microbes, worms, or snakes. The images of worms refer to an Australian myth surrounding edible desert worms. Across a screen divided into a negative and a positive section, these figures react, attack, absorb, and devour one another in an increasingly electrified scenario reminiscent of the biological functioning of the immune system-with the dual confrontation finally dissipating in pulsating spirals.

XI: The Skeleton Dance

"We know that this is a projection of drawings onto a screen.

We know that they are "miracles" and tricks of technology and that such beings don't actually exist in the world.

And at the very same time:

We sense them as living,

we sense them as active, acting,

we sense them as existing and we assume that they are even sentient! ¹³

In 1929, the Walt Disney studio produced the first episode of Silly Symphonies, their first real success due to the perfect symbiosis of music and image, and the first to use non-post-sync sound. Part of the genius of the Skeleton Dance is that it pictures the very logic of the medium and the principles of the animated universe itself. The most fundamental principle of animation is that the whole animated world is joined together by the "carcass" upon which it is all constructed: the score, the rhythm, the melodies. The animated universe had to be, quite literally, enchanted by a song that involves all voices across the board. It follows that within this framework, cause and effect must be exaggerated, and everything should be more alive than usual.

In other words, more receptive. Not only do the skeletons represent the eerie resurrection of the dead at ghost hour, suggesting that animated film itself resembles a witching hour, but the bones also act as a visual sign of that carcass, which is equated here with the musical score.

For Sergei Eisenstein, Disney's work was a major reference, and he developed an entire theory of "plasmaticness," "mutability," and "animism" in relation to it. Eisenstein's starting point is neither Disney's synaesthesia nor his perfect rhythm. Rather, Eisenstein begins with eloquent descriptions of the unstable stability achieved by Disney in his creation of plastic form. This property of unstable stability, which Eisenstein admired for its irresistible attraction, is paradoxical because of the way Disney's forms seem to exist in a continuous state of self-dissolution. In an analysis of Disney's animated drawings, Eisenstein shows how this plasmatic property (one shared by the origin elements-water, fire, air and earth) functions within a form strictly delineated by a line's contour. The line is the form's limit, but in Disney's work this line is constantly in motion: stretching, extending itself, dancing.

In terms of their material, Disney's pictures are pure ecstasy-all the traits of ecstasy (the immersion of self in nature and animals etc.) Their comicality lies in the fact that the process of ecstasy is represented as an object: literalized, formalized. ¹⁴ That is, Disney is an example within the general formula of the comical of a case of formal ecstasy!!! (Great!) ¹⁵ Eisenstein writes, "Metamorphoses is a direct protest against the standardly immutable"-an odd formulation and perhaps a simplification, but one that invites multiple questions and interpretations.

In the history of human forms, for instance, does architecture not embody that which is "standardly immutable"? Is the "standardly immutable" in capitalist modernity that which is measured and quantified, the object of instrumental reasoning or the reified commodity?

Eisenstein offers some answers. "America and the formal logic of standardization had to give birth to Disney as a natural reaction to the prelogical." ¹⁶ He continues:

In the history of literature and art, this is not the first time: similar traits of past ages gave birth to quite similar phenomena. Such was the case with La Fontaine as a protest against the logic of Cartesian philosophy. Disney is a marvelous lullaby for the suffering and the unfortunate, the oppressed and the deprived. For those who are shackled by hours of work and regulated moments of rest, by a mathematical precision of time, whose lives are graphed by the cent and the dollar. [...] Disney's films are a revolt against partitioning and legislating, against spiritual stagnation and greyness. But the revolt is lyrical. This revolt is a daydream. Fruitless and lacking consequences. ¹⁷

XII: My Frontier is an Endless Wall of Points

Artist Joachim Koester calls his My Frontier is an Endless Wall of Points "a psychedelic documentary." It is a 16mm film projection based on the work of poet and painter Henri Michaux, whose lifelong preoccupation with movement and its notation seems to almost mirror that of Etienne-Jules Marey.

Between 1955 and 1960, Michaux experimented with writing and drawing under the influence of mescaline. In Michaux's experiments under the influence of mescaline, the mind and hand turn into a robo-seismograph recording the movements and vibrations induced by neurological excitement, reaching beyond the sign and language into the materiality of the image and the pure, infinite, and abstract flow of time.

Koester short-circuits Michaux by using his notational drawings as raw material for a time-based animation, a "structuralist" film: a representation of the essence of the cinematographic apparatus.

There are animated images and there is image-animism. And, perhaps it is right to say that they often overlap and that animated images also bring image-animism to the fore. But, the fact that in motion pictures or animated cartoons, and even in some still pictures, carefully crafted illusions employing aesthetic effects of the lifelike also preclude discussions of the latter. In the category of image-animism, what is at stake is not an illusion of life, but the effect of images on life: their spiritual, sensory, and affective powers, as when an image performs the cultic function of banishing divine forces, or in modern terms, to use a phrase by Walter Benjamin, when mass cultural images "hit the spectator like a bullet." ¹⁸

XIII: Paralysis, Not Animation

What happens when an animated image steps out of the safe zone of aesthetic effects and immersion into an illusion of life? When does it cross from animation into a zone of animism? This is illustrated in an incident from an episode of the vastly popular anime series Pokémon in the late 1990s. At first, what it has to tell us about animation or vivification and petrification or immobilization seems counterintuitive. Let's listen to Spyros Papapetros:

"Her eyes rolled back and she went into convulsions" [...] "One moment they were happily munching on their dinner and watching their favorite cartoon show on television; the next moment, hundreds of children across the country were shaking and convulsing and being rushed to hospital." The event occurred in Japan on the night of December 16, 1997, during the televised broadcast of an episode of the popular animation series Pokémon [...] Physical symptoms included mild reactions, such as "dizziness, headaches, and nausea," which subsided in one or two hours. But there were also more severe effects, such as "convulsions, fainting, seizures or difficulty in breathing that lasted for more than twenty-four hours" and caused approximately seven hundred of the afflicted youngsters to be hospitalized. Medical experts diagnosed the phenomenon as "optically stimulated epilepsy": epileptic fits caused by rapidly moving images, which are experienced primarily by individuals between the ages of five and nineteen, when the body has a lower threshold to seizure. [...] But while most [...] explanations address the psychopathological history of the afflicted subjects, the idiosyncratic properties of the object itself-specifically, the scene of the infamous cartoon episode-are also particularly telling. The action takes place inside the hard drive of a computer where teenage warriors aided by friendly Pokémon have converged to battle computer viruses. The enemy viruses fire missiles and the rabbit Pikachu responds by ejecting from its serpentine tail a vaccine bomb that produces a thunderous explosion. A white gust is followed by rapid flashes of blue, red, and violet colors. Then a bigger explosion covers the frame with a cloud of black smoke. In the final scene, the teenage warriors emerge dumbfounded, along with the victorious Pokémon, from the burned ruins of a building. However, by that point, many of the young viewers were anesthetized and were unable to witness the jovial conclusion. As animation experts explained, similar visual techniques-called "pakapaka"-had been repeatedly used in Japanese cartoons to cause a sense of tension. But in that particular segment the flashes, alternating in every second, were double the normal number, and combined with the intensity of the colors, the photostimulation became overbearing. [...] After a four-month suspension, the program was back on air in Japan and soon around the world. [...] But what can we ultimately learn about animation from the Pokémon incident? First, that we can never know much about animation-at least not from firsthand experience. In fact, the very idea of knowledge becomes obsolete the moment animation occurs. Think of the young victim's testimony: "The lights seemed to encompass me . . . next thing I knew my mother was telling me I lost consciousness." Animation is experienced as an epistemological and spatiotemporal seizure; body and mind shut down and surrender entirely to the effervescence of the image. The image, in this case, is animated not because it is a cartoon, but because of the overwhelming power that it has upon the subject. [...] The clouds of black smoke covering the screen just before the end of the episode duplicated the "blackout" of the anesthetized spectators, and practically eliminated all spatial distinctions between the real and the virtual domain.

Footnotes

¹ Richard William Hill, "The Dangers of Petrification, or 'The Work of Art and the Ages of Mineral Reproduction'," in Animism vol. 1, ed. Anselm Franke (Berlin: Sternberg Press, 2010), 136.

³ Adapted from Natascha Sadr Haghighian, "Knotting Against the Machine," Deserting from the Culture Wars, ed. Maria Hlavajova and Sven Lütticken (Cambridge: MIT, 2020), 174.

⁴ Aimé Césaire, Discourse on Colonialism (New York: NYU Press, 2001), 58.

⁵ Edwin Carels, "Biometry and Antibodies Modernizing Animation/Animating Modernity," Animism, vol. 1, ed. Anselm Franke (Berlin: Sternberg Press, 2010), 65.

⁶ Rosalind Krauss, The Optical Unconscious (Cambridge, MA: MIT Press, 1994), 209.

⁷ Marcel Broodthaers, "Un Autre Monde," Le Patriote illustré, vol. 74, no. 10 (Brussels: March 9, 1958), 389.

⁹ Avery F. Gordon, "Execution of Czolgosz, with Panorama of Auburn Prison (1901)," Animism, vol. 1, ed. Anselm Franke (Berlin: Sternberg Press, 2010), 77.

¹² Edwin Carels, "Biometry and Antibodies Modernizing Animation/Animating Modernity," Animism, vol. 1, ed. Anselm Franke (Berlin: Sternberg Press, 2010), 65.

¹³ Sergei Eisenstein, Eisenstein on Disney, ed. Jay Leyda, trans. Alan Y. Upchurch (Calcutta: Seagull, 1986), 55.

¹⁸ Spyros Papapetros, On the Animation of the Inorganic: Art, Architecture, and the Extension of Life (Chicago: University of Chicago Press, 2012), 1-2.

Credits

Curator
Anselm Franke

Audio Guide
Script by
Anselm Franke

Produced, composed,
and mixed by
Nicholas Bussmann

With the voices of
Anselm Franke
Lindy Annis
Aaron Snyder
Natascha Sadr Haghighian

Developed by
Jules Laplace

Produced by e-flux
Anton Vidokle
Amal Issa
Rachel Ichniowski

With thanks to
Estate Marcel Broodthaers
Inês Carvalhal
Caitlin Chaisson
Brian Kuan Wood
kurimazutto
Len Lye Foundation
Ngā Toanga Sound & Vision
Andreas Petrossiants
Présence Africaine Editions

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Dictionaries define animism usually as the belief in spirits, or as the attribution of conscious life to nature and inanimate objects. Any such definition raises questions concerning the correct boundary between human-made signs and non-human things, and also between living and dead matter, between a subject with a conscious interiority, and mere objects who lack such quality.

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A desktop recording/performance

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sound: on | screen: full | press: play ​

This exhibition is the prelude to Gold Host Zine Issue 2, BODY (Summer 2020 release), and IN THE FLESH, an in-person exhibition scheduled for later in the year.

We invite you to press play, press pause and interact with the video above and the artist annotations below.

Sulaiman is a London-based, disabled/Wild/Hot AF Exploratory Storyteller and Adventurer. Creating relationships, stories, and magic.

A Continual WIP.

Because Black Lives Matter today, tomorrow and always.

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sound: on | screen: full | press: play ​ This exhibition is the prelude to Gold Host Zine Issue 2, BODY (Summer 2020 release), and IN THE FLESH, an in-person exhibition scheduled for later in the year. We invite you to press play, press pause and interact with the video above and the artist annotations below.

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A video introduction from each person...

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The BORDERx Anthology Project has attracted artists from around the world. Argentina, Egypt, South Africa, The United Kingdom and of course the U.S.A. We are artists and writers united who are willing to stand in the face of oppression and to denounce it in words and pictures. We use comix as our medium and we have partnered with several organizations and individuals to put the current policies on record. By diving deep into the details, we seek to bring context and depth beyond the headlines. The anthology collects funds for the South Texas Human Rights Center who provide water stations, search and rescue as well as forensic recovery for migrants who take the treacherous journey to cross the border in search of a better life. We have also partnered with Project Amplify and Asylum Seekers Advocacy Program (ASAP) to bring sworn testimonies from migrants to the page. This full color comic anthology features talented artists both established and undiscovered. Visit www.border-x.com

Josipa Čok My comic is about Jane who is ecologist, scientist and chocolate lover. She gets super power of Earth itself, to protect and fight for Eco Planet. Her super powers are flying, weather stimulation, healing. She is Eco Woman! https://www.webtoons.com/en/challenge/ecowoman-aka-ewoman/list?title_no=385542

Andre Daniels Welcome to "Treble: The Rhythm Within". A mysterious virus has taken Washington D.C by storm! The city is in a panic and has gone crazy. A high school student named Zamir Green has been exposed to the virus and his body begins to mutate. It seems like music is triggering something deep down within him! What in the world is going on!? This series is an action drama/musical. Throughout the series our main character will discover that he has gained the ability to gain a different super power based on the genre he listens to. The powers are based on the emotional/stereotypical response that people in our world have toward particular genres of music. https://www.spinwhizcomics.com/site/comics/brutal-planet-comics/treble

DFAT Comics is a comic book and graphic novel publisher founded in 2018. DFAT publishes diverse and inclusive comics and graphic novels including Pursuit of Plastic, Hollowed, Inferi, and more in the works. Visit dontforgetowel.com/dfat-comics

Michael Dolce has been a professional Writer, Artist, Podcaster and Awesome Dude in the comic book industry for over 15 years. In 2006 he launched his flagship title, acclaimed superhero comic book "The Sire" through After Shock Comics and currently available through Kickstarter. Since then, he co-created "Descendant" for Image Comics, "The Mainstream" through Zenescope Entertainment and has written for various companies like Wizard Magazine, Zenescope and AMNY. When he's not creating comics, he's hosting the hit Pop Culture podcast The Rogue Wav Podcast, available on Apple Podcasts, Apple TV, iHeart Radio, YouTube and wherever podcasts can be seen and heard. In 2019, Dolce announced the creation of Sire Studios, a multi-genre IP Production Company. You can view his work on Comixology, Amazon, iTunes or your local comic book shop. In 2020 he announced that he is partnering with Roguematter.com as the head of their podcast network and collaborating on new comics and IPS. Currently, Dolce is working on a number of new launches in both the graphic novel and podcast world including a new volume of The Sire coming in December to Kickstarter and projects for Rogue Matter.

Steven Farkas Horror and Science Fiction books. Horror includes story collections and novellas. Zombies, hauntings, flash fiction horror with aliens, vampires, quite suburban cannibals. A science fiction crime book series set in the future with the main character a robot private detective. https://thedeadmannj.wixsite.com/darkmindofsfarkas

Michael Grassia is a cartoonist and educator with a career spanning over two decades. He is known for his comics Plunger Pup and The Wiz. Michael also travels teaching kids about comics and animation. Every Tuesday night at 8:30 pm on Facebook and YouTube Michael interviews artist, writers, and other creative professionals in the cartoon world on his show GET IN TOON! In 2019 Michael received an award for his devotion to the arts and art education. In addition to the award Michael was presented with a special honor from the Westchester Board of Legislators naming October 5th Michael Grassia Day. You can follow Michael on instagram, twitter,and YouTube at @michaelgrassia and on Facebook at @getintoon.net and @michaelgrassiastudios. https://www.instagram.com/michaelgrassia/

Stefan Jackson
What if 'Think Differently' was more than a campaign slogan?
What if it was part of a mind control network geared toward advanced sciences, creating a vibrant, creative and competitive workforce? This is the world of Glass Shore, a dynamic existence featuring fierce vehicles, cruel weapons and serious body augmentation. Buy my books at https://www.amazon.com/Glass-Shore-Stefan-Jackson/dp/190816848X

John Jennison. Astonishing QT focuses on queer horror and occult comics and artwork. Crime, drama, hauntings and bizarre happenings are what drive the creative process of artist John Jennison. Along with comics he also created a queer masculine divine tarot deck called the MYSTIC MALE TAROT. https://www.etsy.com/shop/AstonishingQT

Jim Jimenez has worked with Walt Disney and Hanna Barbera as lay-out and storyboard artist and did some projects like Gummie Bears, Winnie the Pooh, Tom and Jerry, Police Academy, X-Men Tv series,Biker Mice from Mars, The Mask, Thumbelina,etcand now working as Senior Graphic Illustrator at Epik Studios. https://www.deviantart.com/artofjimnjimenez

Brian Kong Hi, My name is Brian Kong and I've been a freelance artist since 1994.I've done work in the comic book, trading card & advertising industries with clients such as Marvel, Dc , Lucasfilm & MLB. I'm a born & raised New Yorker and currently live in Brooklyn with my wife & 2 daughters. briankong.storenvy.com

Jessie Lin is a New York-based illustrator. She mainly focuses on comics and sequential illustration. She began her study in FIT Illustration MFA in August 2019. Awards: American Illustration 39 Chosen Winner 3×3 International Illustration Annual No.17 Merit Winner. www.junyulin.net

Jessy Liu. I am a Shanghai-based freelance illustrator, pop-up book maker, craftswoman, graphic designer and FIT MFA Illustration student in China. My illustrations are not just digital focused, but also created in a diversity media. There are so many kinds I did before and I am also ready to explore more. My several paintings are now available in Curated gallery who I worked with before. I have an original series stickers named "When I am alone", a pop up book named "Shaggy" and several editorial illustrations for children's book like "Night on the Milky Way Train." View my works at https://www.instagram.com/jessyyy_liu/.

Enrique Lopez. US born, via Puerto Rico, son of Cuban immigrants. Quique was always fascinated with telling stories. Writing from early age, he started in the industry in 1988 after graduation from Loyola University - New Orleans with a business degree but was unable to find steady work so he went into advertising as creative and account director for a number of prestigious agencies such as Leo Burnett and BBDO where some of his campaigns won awards. The last three years has he restarted his career at the suggestion of various artists friends and he has been chosen as the inker on Soul Eraser from Triple Threat Comics as well as The Mighty Atomic Thunderbolt. He is also a published writer and artist with stories in Anthologies "Stupendous" and "Horredous #2" both available on his store page. He will be contributing three (3) stories to the Kicktstarter anthology "Not So Fair Tales: debuting in 2021 and one of the artists working with him will be Paris Cullins, Co-Creator of Blue Devil (DC Comics). He hosts a show, "Inking with Quique" via Instagram every Monday at 8pm @art_by_quique. https://artbyquique.storenvy.com/

Gregory Maldonado is a Bronx based artist of Puerto Rican, Dominican, Asian descent. With a course or 2 of training at The School of Visual Arts he's mostly self taught. He Has been a part of 3 successful Kickstarter campaigns in which he contributed some or all of the art. Having been published by Pronto comics and Mondocomix, Greg's extremely detailed work can currently be seen in the pages of the Shaolin nun comic series or at his Instagram.

Shanai Melvin. I do comic work, illustrations shirt designs and commissions for people. Artwork is inspired by anime and Japanese culture. https://melvinshanai.wixsite.com/myartportfolio

Jonah Newman. I'm a Brooklyn-based cartoonist and editor. My work tends to be reality-based - memoir, history, historical fiction, or semi-autobiographical fiction. I'm the author of two graphic novels: EMPIRE ON EDGE, which I published as a webcomic, and OUT OF LEFT FIELD, which is forthcoming from Little, Brown Books for Young Readers. To check out my work and support me, go to my website, where you can read most of my comics for free and find out how to follow me on social media or subscribe to my email newsletter. https://www.jonahnewmancomics.com

O U T S I D E outsiderqueersubversiveocculthorror a graphic anthology of new speculative fiction by artists, writers, performers and porn stars from around the world, including - Joe R. Lansdale, Daniele Serra, Diamanda Galás, Chesya Burke, Jennifer y Cruté and many more.
Curated and edited in Berlin O U T S I D E, like that city it was born in, is sometimes scary, often weird, crazy and dark, but always beautiful, offering you something you've never seen before. It is here to give voice to those who have been excluded, all those that would rather remain... O U T S I D E
O-U-T-S-I-D-E.net

Stephanie Nina Pitsirilos. My comics and prose are featured in anthologies such as: Insider Art; COVID Chronicles: A Comics Anthology; and Unlikely Heroes Studios, among others-and I'm co-creator of the Webtoon series DR163. My work is a sancocho of public health, social justice, biographical and speculative-with an emphasis on Nuyorican settings, and where historical legacy haunts present and future. My treasure trove of current projects includes: polishing a new novel; an adult cyberpunk comic series; a graphic prose webcomic; season two of DR163; and a YA graphic novella. www.stephanieninapitsirilos.com

Jill Pratzon is an illustrator, writer and art restorer who mines her New England childhood for the sweet and the horrific; Huskies, Dalmatians, ducks, a feisty raccoon and stray brothers and sisters. Her graphic memoir, Raised by Wolves, is a true story about parental neglect, sibling cruelty and canine loyalty, laced with dark humor. Her first graphic novel, Restoration & Son, delves into pediatric brain tumor humor. Her newest story, Brooklyn Rhino, details what happens when a rhinoceros runs amok in Brooklyn. Jill has restored hundreds of paintings from the collections of the Society of Illustrators, the Norman Rockwell Museum, Illustration House and countless collectors. https://www.instagram.com/jill_pratzon/

Jan Marc Quisumbing. The Janimal is a Jersey tomato roasting in the Arizona sun. A graduate of the Mason Gross School of the Arts, Rutgers University (NJ) he now resides in Northern Arizona with his family and 2 cats. He has exhibited at comic conventions from Phoenix Fan Fusion to New York Comic Con and serves as the acting president of the Northern Arizona Cartoonist Association (NAZCA). His fun and cartoony style has a great retro feel and translates easily to the drawing demo classes that haven been a staple at Verde Valley libraries and LibCons over the past 5 years. His work can be seen on Facebook (The Janimal Draws). https://www.instagram.com/thejanimaldraws/

Fabrice Sapolsky. A true storyteller, Fabrice can write, draw, letter and edit any comic book. He is the co-creator/co-writer of Spider-Man Noir for Marvel Comics (with David Hine). He also published creator-owned comics at Image Comics and Dynamite Entertainment. Breathing comics night and day, Fabrice also served as Senior Editor at publisher Humanoids (2017-2020) where he developed the new H1 Comics and BiG imprints. He lives in Los Angeles where founded FairSquare Comics, a new publisher where he's hosting his own projects like One-Hit Wonder, Intertwined and Lady-Bird as well as those from his amazing friends. In 2020, FairSquare Comics successfully crowdfunded Noir Is The New Black, an anthology of Black Noir stories from 30 Black creators and Twin Kings Battle, a Supernatural Queer Drama from Phil Briones. FairSquare Comics' mission statement is "Comics For The Rest of Us": the goal is to showcase and publish comics and graphic novels from immigrants and under-represented categories of creators just like Fabrice Sapolsky.

Saving Jane empowers survivors of all forms of modern day slavery and human trafficking to live the life that they want to live. We work with national and global organizations to produce and distribute graphic novels (comic books) that teach about human trafficking - what it is, what it looks like, what to do when you see it, and how people fall victim to it. In this easy to follow graphic novel format, young people learn to identify, see and avoid the red flags of predatory behavior. Saving Jane is committed to ending all forms of these crimes through raising of the public's awareness, education, the transformation of lives of impacted individuals, and the creation of systems, technology and policies to protect and support impacted individuals or prevent the formation of social conditions conducive to trafficking. Check out our books.

George Vega is a freelance illustrator working in comics and general illustration. He is known for his work on many Marvel/Upper Deck and DC/Cryptozoic trading cards sets, and on other franchises like Alien, Aliens anthology, Firefly, and Rick and Morty cards. Currently, George is doing work in indie comics as the creator of The World Of M and penciling other international indy comics as well. Some other general illustration projects he has worked on are character design, toy design and packaging illustration for designer toy companies. www.etsy.com/shop/georgevegaart Im offering %10 off anything in my shop to the viewers of the video.

Wayward Raven creates comics, webcomics, children's books and prose. Our works are limited series and stories that have a beginning, middle and end. Our content is not just plot focused, but also character driven. Most importantly, DEAD IS DEAD. It's our niche. And we like it. https://waywardraven.com

Miriam Yoo (Aka Staryoo) I am a Korean-American artist based in New York. My work is heavily influenced by the anime and manga style, so you will see me draw a lot of fanarts. I incorporate my life experiences and personal beliefs in my art, and use it in a meaningful way to help others. I try my best to raise awareness for different social issues and to share relatable stories to empower others. I am currently holding a T-shirt campaign called "Black Lives Are Precious" to help raise funds for the BLM movement. I also have a webtoon series in the works called "Misfit Hero", which is about a bunch of misfits saving a fantasy world from an evil ice wizard. I am also a Youtube content creator who animate short animations and make fun vlogs on the side. https://www.instagram.com/staryoo.art

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The BORDERx Anthology Project has attracted artists from around the world. Argentina, Egypt, South Africa, The United Kingdom and of course the U.S.A. We are artists and writers united who are willing to stand in the face of oppression and to denounce it in words and pictures.

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Web series where teenager from around the world give guided tours of their bedrooms.

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SNEAK PEEK THE DO NOT ENTER DIARIES BEFORE THE JANUARY 2013 LAUNCH!

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"successful in showing finished work nicely! But doesn't do more than a feed..."

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Online gallery / community art project showing lockdown rooms side by side

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Magnolia and wisteria
Hyper vigilance and hysteria
A new spring has come
Bearing a virus to shun
A lonely junkie plays guitar
People greet from afar
Our world suddenly changed
Ever more deranged
Thankful for the NHS
Toiling under Tory duress
Our cities now ghost towns
In nations run by clowns
And I must confess
In my difficulty to acquiesce
Riding it out under duress
Whilst I burn to protest
After a lifetime of mining
For those elusive silver linings
On a dawn's chorus
With baited breath we wait cautious
That we may come to see
A better world may be
Piercing the veil of myopia
Save us from future dystopia

Lily Forbes

I have attached some drawings/representations of how I explored my immediate environment in my room during lockdown. I used bits of scrap paper and made some drawings and rubbings, and whilst listening to the radio and the news wrote some key lines which stood out to me. A sensory representation of my Southwark room!

Welcome to the Southwark Rooms Gallery.

Southwark Rooms was an online community art project that ran from 17th June to 18th July 2020 - towards the end of the first wave of coronavirus in the UK. The project encouraged Southwark residents to reflect on the rooms that they'd been spending so much time in during lockdown and make an artwork about their experience.

The resulting exhibition gives us a brief glimpse into the lives of our neighbours, as they stretch out on beds, gaze around at their 4-walled worlds and ponder the future, present and past. It's been a remarkable time for the world at large and these artworks help to remind us that although we sit apart in our rooms, we're all in this together.

Student from Pilgrims Way Primary School

Morning, Noon & Night, Bella Okuya

Student from Pilgrims Way Primary School

Tommys Rooms Early Evening, Tommy Brentnall

Webcam Friend, Rachel Sale

Drawing From Memory, Holly Gosai

Student from Pilgrims Way Primary School

Student from Pilgrims Way Primary School

Student from Pilgrims Way Primary School

Boxed In, Marita Upeniece

Drawing of my room (features a butt bonsai, angle poise lamp and a cactus that grew arms over lockdown), Sacha Beeley

Planning For A Smaller Space, Kate Ducker

Thanks to all participants:

Students from Pilgrims Way Primary School
John Iona
Kate Ducker
Bella Okuya
Penny Skerrett
Tommy Brentnall
Rachel Sale
Holly Gosai
Ian Turner
Marita Upeniece
Lily Forbes
Sacha Beeley
Evgenia Vlachaki
Sarah Jury

This project was organised by F.A.T. Studio C.I.C.
and funded by Southwark Council Neighbourhood Fund 20/21

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Magnolia and wisteria Hyper vigilance and hysteria A new spring has come Bearing a virus to shun A lonely junkie plays guitar People greet from afar Our world suddenly changed Ever more deranged Thankful for the NHS Toiling under Tory duress Our cities now ghost towns In nations run by

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Containing 5 different open call response pages.

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Welcome!

This online archive is curated by Year 2 Image Makers and is an amalgamation of our stories and experiences of life during lockdown. This project came to life through a collaboration with F.A.T Studio, an arts organisation based in South London supporting community focused initiatives.

We are open to submissions, please send us your:

Drawings, Poems, Photos, Video, Animations, Diary entries

Email:

1902259@students.ucreative.ac.uk

Welcome!

This online archive is curated by Year 2 Image Makers and is an amalgamation of our stories and experiences of life during lockdown. This project came to life through a collaboration with F.A.T Studio, an arts organisation based in South London supporting community focused initiatives.

We are open to submissions, please send us your:

Drawings, Poems, Photos, Videos, Animations, Diary entries

Email:

1902259@students.ucreative.ac.uk

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Welcome! This online archive is curated by Year 2 Image Makers and is an amalgamation of our stories and experiences of life during lockdown. This project came to life through a collaboration with F.A.T Studio, an arts organisation based in South London supporting community focused initiatives.

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A gathering of open call submissions on one big page with chat boxes and interactive buttons

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Un/learning sticker #1

Indiana Lawrence

The thing I learned during covid (which really helped me through and gave me lots more confidence) was a love for cycling!! This is the route I would cycle from my house to a local beach for socially distanced hangouts with a friend. We'd have lots of long chats about life and everything else at the beach that always felt like real learnings and unlearnings too :)

1big1

Tom Railton

"Using making as a method of preservation in itself, and looking to older ways of thinking and doing, I'm leaning not towards this 'new normal' we hear about, so much as a reimagining of 'older abnormals': times when those who came before us might feel a need for connection and protection beyond the immediately tangible, whilst dodging dissociation in making as a method of my staying in the present."

Read full article here.

Un/learning Sticker #2

Rathna Ramanathan
Dean, RCA School of Communication

In the early weeks of the Covid lockdown, I read an article by one of my country women - Arundathi Roy - a brilliant writer and activist. Arundathi Roy spoke of the pandemic as a portal and of her hope that we might walk through this tunnel, unlearning and having the courage to pick up new tools, new ways in which we might connect with each other, and make a truly fair and just world for both humans and non-humans.

Our students and ourselves have had to learn to practice and create work during a pandemic and in social isolation. And in that process, our students have learnt about tools they never had within themselves that have had to find and rely on through necessity. The result is glorious testament to creativity. When we make, when we create, it says that we believe in a future. We believe in a world out there where our work is read or seen or shared by others, where our work connects with other human beings, where we are able to make a difference.

Roy describes Covid-19 as a virus that works like an x-ray, exposing the world in all of its biases and injustices. With George Floyd's murder and Black Lives Matter movements, we are beginning to see more clearly and explicitly how unequal and unjust our society is. We are starting to realise that we must all listen with, reflect on and act together; that this is integral to how we live or choose to live on a daily basis. This is our needed un/learning.

What have I learnt? I have learnt that we cannot separate life from practice. That life is practice. And that nothing can stop creativity. Not even a pandemic.

A Clay Exhibition for Poultry Friends

Cecily LJ

Pre lockdown I was already loosely working with the clay soil around my parents home where I grew up. Returning back here for lockdown has given me the time to finally complete the process of filtered this clay, sculpting my first ceramics and smoke firing them, using foraged materials from around our home. The lengthy process made me slow down during lockdown and measure my days through the clay filtering process and sculpting. YouTube became by best friend teaching me everything I now know about foraging clay, ceramics and smoke firing. I've learnt so much in this time by unlearning to rush and learning to dig holes and get my hands muddy.

Un/learning sticker #3

Bethnal Green Tenants

Banner by Helena Walsh and Kevin Biderman as part of a collaborative neighbourhood banner project by Bethnal Green Tenants of Nag's Head Estate, London, 2020. Residents of the Nag's Head Estate and other locals posted answers to the question 'who should pay for coronavirus?' into a makeshift post-box. They invite you to add your ideas to our chatbox!

Poem by Eve Stotesbury

We look to another world to learn
We learn how to live in a tight space
Repetitively
Over lockdown
Now we can escape
A fish can't
Our glass windows open
It's don't
Shall we take it to the sea?
What's responsibility?

Un/learning Sticker #4

Isobel Reddington

The quarantine period brought the social divides in the UK into sharp focus. After this, I don't think many people will be able to shake off how obviously our racist & classist Britain puts lives into hierarchies and decides those at the 'bottom' don't deserve protection. These are the people that keep things running, afloat, keep us all well & safe. How much have we internalised this idea of social hierarchy? It is not too much to ask that everyone had their basic needs met, food, shelter & wellbeing. Everyone is deserving of the good things & to have time to enjoy their life. E V E R Y O N E. Time to demand wealth re-distribution.

Meech Boakye

I've found some comfort in doing long, repetitive tasks during quarantine. Making pasta from scratch was one of them. Dried pasta is cheap and so I'd never tried making it from scratch. Plus, I thought I didn't have the right tools or the right flour or the right technique. But having time also means having time to mess up.

The first shape I attempted is arguably one of the harder ones but all the more satisfying when you start to get the hang of it. They're a Sardinian shape called lorighittas or "little rings" and I spent an afternoon rolling them into ropes and twisting them on my fingers. The dough is simple enough, fine durum semolina and water but you can use all-purpose if that's what you have on hand. The recipe that I followed uses 300 grams of flour to 180 grams of water. If you don't have a kitchen scale yet and you enjoy baking, get one. Measurements are much more precise and you'll have fewer dishes to clean up.

Traditionally, you'll make a well in the centre of the flour and pour water in slowly, starting with the middle and gradually bringing more flour in from the sides. I thought I was experienced enough for that technique and ended up with water all over my counter. I'd suggest a bowl. Knead for a bit to form a tacky dough, form into a ball and rest, covered in a damp towel, for about fifteen minutes. I got distracted and rested it for more. Don't skip this step though, resting allows the gluten to relax and the dough to hydrate, making it smoother and easier to work with afterwards.

Un/learning Sticker #5

Chan Shin Park

Try to lock me in the house.
To be fair, the expression that I have to quarantine by some reason may be accurate.
But I may think I've initially locked myself up to see this situation a little more actively.
Have nothing to do, so I might grow a bonsai.
Order a stone that resembles a mountain and a plant to be grafted onto the stone
Looking down at the bonsai, this is such an elder's habit.
I could decide to become an old who has gone through all sorts of hardships.
No, even more, I can become a transcendent being.

Yes. We live in an orderly world.
The most important thing in this world of order is everyday life.
The world collapses as daily life collapses.
No. nothing can destroy this world.
Even if the lives of many people are collateralised, my everyday life can't be broken.
Whatever happens, the rhetoric - it was an expensive lesson man - would justify me.
Right. We do not learn.
No. Perhaps it's more correct to say that we are not trying to learn the present.

Oh, it's time for tea.
Should keep calm and have a cuppa then.

Successful Art Project

Gertrūda Gilytė

Two years ago artist Gertrūda Gilytė began the durational instagram performance @successful_art_project, aiming to achieve online fame in order to realise artistic success by the conventional definition of institutional recognition.

Applying popular techniques from the spirituality industry to her own situation, Gertrūda drew particularly from The Law of Attraction, which uses the power of the mind to translate whatever is in our thoughts and materialize them into reality.

Gertrūda began this project with a relatively sceptical view of the spirituality and mindfulness industries, but a commitment to testing these techniques with openness. Choosing to film herself rather than perform a character, the disjuncture between her speech and facial expressions suggests that the work required to convince herself that her words hold truth is ongoing.

Gertrūda recognises that The Law of Attraction has many problematic aspects, and does not acknowledge the structural conditions which determine its limitations, for example illness or social disadvantage. However @successful_art_project's critical view of this method is complicated by the extent to which the manifestations affected Gertrūda's personal life. In the final months of this project Gertruda's goals came to life; she achieved gallery representation from @annkakultys gallery.

The girl who looked to other worlds, in lockdown
Eve Stotesbury

I Don't Trust You - Izzie Mack

Un/learning Sticker #6

Jessie Krish

UN/LEARNING: amongst the good things there are horrid things like coronavirus and my spicy little toe (looks like chilli sauce but it's a fungal infection). Count your blessings and take positive actions e.g going to the pharmacy.

The Laumi hat

Laumulistasamsteypan

The Laumi hat is an international collective of artists that have taken part in Laumulistasamsteypan, an annual artist summer camp/residency in Hrísey, Iceland. During our stay in Hrísey we always start our day by doing a morning activity which is led by one of the residency artists. This activity can be everything from sharing dreams over coffee, sock wrestling, pancake competition, parkour, drawing exercises or cursing into the Atlantic ocean.

These morning activities are a moment to leave judgment behind and join in on a quest guided by another, learning alternative perspectives and unlearning your ego.

Join us for our morning activities with HORRID Covid! on Instagram, 1-5th of August at 11:00 BTS."

1. August: Simon Brinck
2. August:Sara Björg Bjarnadóttir
3. August:Susan Van Veen
4. August:Borghildur Tumadóttir
5. August:Saulé Noreikaité

Click here for more details.

Love in the Time of Corona

Anon

'Love in the Time of Corona' is a series of reflections on queer (non)-monogamy in lockdown.

Click the hand for the final instalment of the series →
To catch up on Part 3 clickhere.

Once rested, cut off a small portion of dough and leave the rest covered. You want to work with amounts of dough that can be shaped before it dries out. Roll it into a rope, starting with two hands close together, spreading them apart to elongate it. Start rolling one end thinner, wrap it around two fingers, break the dough off from the rest of the rope and pinch the two loops together where they meet. Play around with how thin you roll, I probably could have gone thinner. Then, twist. The technique is strange to describe in words so I recorded it instead.

Lay each noodle on something flat and dusted with semolina or other flour. Continue working in small batches; cutting off parts of dough, rolling them out, twirling them on your fingers, until you've finished or are tired of making pasta. They can be left out to dry, frozen, or boiled fresh in very salted water for about two minutes or until they float to the top.

Anti-bordom Manual

Wijnand Van Tilburg
Manual content contributed by the HORRID Covid! community

While boredom is obviously not the worst consequence of Covid-19, it is probably one that many people struggle with during lockdowns and quarantines. But is it boredom really all that bad?

Long term boredom is associated with a lot of unpleasant outcomes: depression, anxiety, dangerous behaviour, aggression and many more. Being bored very often or for long periods is therefore a big problem. But using experiments and survey studies to investigate people's reactions to boredom over the last 10 years, my collaborators and I have discovered that effects of momentary boredom that everybody probably experiences every once in a while is not so clear-cut.

Boredom tends to encourage two kinds of responses. First, boredom causes people to look for temporary and immediate distraction that allows them to avoid the boring situation, such as snacking. Second, boredom causes people to look for more satisfying or meaningful activities, such as helping others or perhaps doing something creative. While the former will help against boredom for a moment, the latter is probably a better long-term remedy.

Exercise and the outdoors
Going for walk and smelling all the nature
UseStephen Dalley's random walk generator to get out the door
Try fishing
Gardening
Do the London loop
Just do some exercise
Book swims

Cooking
Make beer-battered onion rings
Make a pie
Contribute toEmma Rock's collective cookbook

A Recipe for the Fully Satiated, Mildly Bored

of so much chaos and change,

rendered joyful, angry or serene

show how learning can be a site for agency,

a strategy for feeling our way into the unknown,

an opportunity to come together

Defiant in their new knowledge,

they leave us with signs of hope.

From Saturday Laumulistasamsteypan

(AKA 'the sneaky art association')

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Un/learning sticker #1 Indiana Lawrence The thing I learned during covid (which really helped me through and gave me lots more confidence) was a love for cycling!! This is the route I would cycle from my house to a local beach for socially distanced hangouts with a friend.

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A virtual 'foyer' that assembles a bunch of small portals into different worlds

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MAGICAL ROOMS EXHIBITION!

Welcome to the Magical Rooms Exhibition.

This page holds together projects made by over 100 students from the Illustration department on the UAL Camberwell Foundation Course.

Covid-19 continues to restrict our daily lives and this term all students have been working remotely from home. The Magical Rooms project asked students to turn their attention to the world within their own bedrooms. Over 3 weeks the students explored their own belongings through image making and developed projects about things that felt important and unique to them. These projects are a celebration of each student's individual voice but also the group as a community.

→

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MAGICAL ROOMS EXHIBITION! Welcome to the Magical Rooms Exhibition. This page holds together projects made by over 100 students from the Illustration department on the UAL Camberwell Foundation Course. Covid-19 continues to restrict our daily lives and this term all students have been working remotely from home.

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A fictional gallery space that exists only online. How real is it/isn't it?

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New Caladonian art gallery specializing in innovative contemporary art, showcasing curators, and providing a venue for progressive experiments in all media.

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Secret features hidden down tunnels

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What Does Time Look Like?

For this issue, we spoke to our friend Adam Green, Editor-in-Chief at The Public Domain Review, 'an online journal and not-for-profit project dedicated to the exploration of curious and compelling works from the history of art, literature, and ideas.' We asked Adam if he could think of some images that found inventive ways of depicting time. These are the curious and beautiful works he sent back.

Click each image to zoom in or find out more about it on The Public Domain Review.

Ancient Courses Mississippi River Meander Belt
Harold Fisk, 1944. (US Army Corps of Engineers)

Man Walking
Étienne-Jules Marey, 1882.

Chronology Delineated to Illustrate the History of Monarchical Revolution
Isaac Eddy and James Wilson, 1813. (David Rumsey Historical Map Collection)

From Kneading Dough to Wedging Clay:
How you might discover a new skill by doing what you already do best
Barney Pau

"Most of us are accustomed to 5 day weeks, working 8 hours a day in the same line of work, producing the same things and repeating the same processes. So when suddenly presented with a prolonged period of isolation, where many of us are learning how to be with ourselves, it offers the perfect opportunity to diverge from what you believe you are constrained to, into something that you already know how to do. All we have to do is translate it to a different language. Let me explain..."

Read Barney's article

To Plant A Garden Is To Believe In Tomorrow
Alex Thompson-Byer @ourgreenagenda

Love in the Time of Corona
Anon

1

On Friday 13th March a man from the internet brought me an espresso martini in a bar. A bar! Can you imagine? It seems impossible these days. We had planned to get a cocktail before going to a queer trans night at a strip club. "Either this person is your soul mate or you planned this first date," my housemate said as I departed. I had planned the date, but he had agreed which was a good start.

2

Two days later, he left my house. "What brings you to Hinge?" I'd asked him over breakfast the morning after we'd met. "Love," he answered. I was taken aback. It's a question I'd enjoyed throwing at straight men on the internet since breaking up with my ex-girlfriend. A horrified "I don't know!" was the usual response, in the same incredulous tone that I imagine people use when asked how porn ended up on their work computer.

3

I was about to move to Berlin and I felt liberated. I do all my best dating when I'm about to leave the country. Since breaking up with my ex-girlfriend, I had spent 18 introspective months discussing relationship styles in therapy. The cloying, insular monogamy of that relationship had left me committed to living my best solo-poly life. I had not nurtured my body back to life only for someone to take it from me again. I had fought for my desire and freedom and was not about to sacrifice them to anyone.

4

"My housemates told me that I'm only allowed one boyfriend and I chose you," I gushed. It was our second date. By that point, Government advice discouraged but did not legally prohibit all but essential social contact. Someone in Whitehall must have envisaged that some trips to the pub were essential because they were all still open. We compromised and jumped over the fence in Victoria Park to sit on the jetty of the lake eating tira misu in the moonlight. Two days later, he left my bed.

5

"Am I still allowed to have one visitor if he doesn't see anyone else?" I asked my housemates after the official lockdown announcement on March 23rd. "No," was the unanimous response. "I can't believe you'd be so disrespectful to NHS staff." Having agreed to my housemates' partners moving in for lockdown, I now found myself as a permanent fifth wheel on a double date. It sucked. Maybe Government epidemiologist Neil Ferguson now wishes he also lived with two smug monogamous couples who would have vetoed visits from his lover.

6

Our only option was to become U-Haul lockdown lesbians. It was literally official Government advice. England's deputy chief medical officer Dr Jenny Harries (featured in the upcoming season of The Real Whitehall L Word) announced that couples should test the strength of their relationship by living permanently with each other. Was I really about to persuade a heterosexual man to move in with me on a third date?

7

A sympathetic friend offered me his houseboat while he was living with his girlfriend. But would moving out of my house be any less intense? It would mean not having to live together full time but I would be living alone. Could two weeks of corona really dissolve 18 months of solo-poly boundaries? I had said on our first date that I never wanted a monogamous relationship. And yet he was about to become not only my sole romantic partner, but literally the only person I would ever see.

8

"Fuck it," I thought. Surely it would at least give us the opportunity to find out whether we actually hated each other? I called my friend with the boat. "I'll take it," I said. "Great!" he said. "I should probably let you know that there might be bed bugs on the boat." "Oh. Really?" "Yes. The person who was on it in February left because there were bed bugs, but I did change the mattress. Hopefully it's fine, but I can't be sure." "Fuck it," I thought. Maybe we hate each other, maybe all my clothes get infested with bed bugs. But maybe that's better than pining for someone at home?

9

So our third date was on the boat, seemingly without bed bugs or hating each other. Late afternoon sunlight poured through the window as we lay on the bed planning boat trips into the countryside. While everyone else was locked down, we were floating away together somewhere new.

Henry and the Phone Witch
Femi Oriogun-Williams

'It began with the trees. In the glades of the forest where the boys would play, a sickness crept through the branches. The leaves turned black, the fruit shrivelled and fell to the forest floor, and soon the green clearings were thick with rotten plant matter. Then the animals of the farm began to grow weak, their milk turned sour and their meat became tough...'

Read this story out loud to a friend

Time Capsule Update

Last week we buried the infamous HC! Time Capsule at Dartington Estate (where the Welfare State and the NHS was invented). It was filled with stuff you sent us.

(Secret) We also buried it online with the help of cryptic coder Alfred Cassels, so that our curious readers can find out what's inside without having to go to Devon.

Whilst reading this issue, keep an eye out for the treasure and click the spinning time capsule now to go through to a picture of the launch site, where you can find a clue to the password you'll need later! (Yes, we went to town on this).

Former Measurements of Time (from fastest to slowest)
Katy Young

The fifteen minutes directly following a shower
All periods of time on a Sunday, from 5pm onwards
Any and all time spent messaging crushes
The final minutes of my walk to work
20-30 minutes spent getting changed into two or more different outfits and then back into the original one, when already running 10 minutes late
The 45 minutes before final orders, when you are finally drunk enough to flirt
Any length of time spent on any activity on a Saturday morning including
a) reading in bed
b) cleaning the kitchen
c) sitting around
d) looking at the internet
40 seconds spent swimming from the shallow end to the deep end
Around two hours watching a good film at the cinema, which starts at 9pm
Under 10 minutes, cooking pasta, after work
Four to six hours talking about the future on the phone, while staring at the patterns in the rug on my floor
Two to four hours between paracetamol when you have cramps
In between 6-8.15pm, on a Saturday evening when you have no plans
Walking home from work
Any length of time, travelling in a car after two hours, unless you are
a) in traffic and running late for soundcheck
b) playing the game 'what savoury snack am I?'
c) secretly in love with one or more passengers
A single hour, one night in February 2019, between 4am-5am, before you left to fly to Germany
Less than four minutes playing a song you love to someone on headphones while you look at their face and reconsider whether they will like it, and then look anywhere else and reconsider whether you like it

Tarot of the Week & Horridscopes
Luna Laura

The magician is a force of nature, mixing up the wands, swords, pentacles and cups to control time and invite wonder and creativity to our tiny shared flats. The magician can make miracles happen, stuff like making a virus disappear. This card reminds us it's time to take action, to do what needs to be done and make the best of it, shining light on our weird situation, totally committed to setting aside distractions and buckling (lock) down.

Dark clouds are fogging you up this week with a serious lack of imagination - The full moon has heightened your feeling and you need a distraction project to reconnect with your inner strength pronto. An old, wise, mystical woman once advised me to text the first person in my phone with the initial M just to say hi. It unravelled a path of great discovery and personal growth. Now it's your turn. See where it takes you.

Check our the full 'scopes here

Clocking Off
Lousie Ashcroft and the Goldsmiths Zoomers

A Nameless Caffeinated Woman Furloughed From Her Managerial Position, Henrietta & Bobby (who haven't got out of bed yet), and a philosophical goldfish, have called a lunch meeting.

Clocking off! is an improvised unperformance by artist Louise Ashcroft and the Goldsmiths Zoomers*. Messing around with the basic ingredients: prop, plan and character, Louise and her improvised company invite you to their second ever performance exploring time and work.

You're encouraged to come in makeshift disguise or Bring Your Own Background if you would like to. You'll have 5 minutes at the start of the performance to get this together.

Over the past week, volunteer participants in the Uchronia Critical Mass experiment have been using their time in quarantine as an opportunity to 'unlearn' societal time. Working under the guidance of artist and academic Dr. Helga Schmid, they have been discarding clocks, watches and mobile phones in order to develop criteria for their own temporal systems.

Participants are being asked to invent their own 'time-giver' as a replacement for the clock, based on their beliefs and values. Dotted throughout this issue are examples (in green) of the time-givers that people are synchronising their lives with...

Click here to find out more and discover ways to get involved.

Another person's rhythm
One uchronian participant mirrored the life of his partner in Paris. She is a professional dancer and became his time-giver. Over the course of the experiment, he did exactly what she did over the course of 48 hours. When she danced, he moved and danced as well as he could, when she went to bed, he did the same, up to the greatest detail - when she ate and added too much hot sauce to her dish, he did the same.

Uchronia: unlearning time
Dr. Helga Schmid

The notion of time in Proust's 'In Search of Lost Time'
In a group experiment, four participants chose to continuously read out loud Proust's In Search of Lost Time as their time-giver over the course of 48 hours. Each chapter of the book served as a time unit. By taking turns, always one member of the group read a chapter out loud, while another member was knitting for this period of time. As each person was given a different colour yarn, so the length of knitting for each chapter was visualised by the change in colour. This produced a visual output of each time unit. The other two listened, wrote, cooked or slept meanwhile.

I'm always hungry
Hunger served as a time-giver for a group of four over the course of 48 hours. Away from societal rhythms, they focused on their bodies, specifically their feelings of hunger, and explored these by cooking, under the additional temporal influence of music-which helped with how to cook the perfect egg, without time.

Inside a video game
One participant created her own Sims character (video game character) and followed the life of her character over the course of a day. In her game, one sim day related to 24 minutes. Each minute became an hour in her real day, leading to 1.5 hour long showers and Macaroni and Cheese for breakfast.

HAPPY SUNDAY
Jesse Rivers and Olivia Norris

'But wait' I hear you say, 'it's not Sunday!'

Au contraire friends, HAPPY SUNDAY is a sartorial collaboration between Jesse Rivers and Olivia Norris born out of quarantine, about listlessness/daylessness/routinelessness and the lack of social relations, lack of intimacy and human-y things we currently find ourselves experiencing.

The T-Shirts can be purchased through Everpress and all profits go to Tottenham Community Food Hub who support low income families, isolated older people, and people who are homeless during these difficult coronavirus times. HAPPY SUNDAY is available with short sleeves (£20) or long sleeves (£25) through Everpress until 27 May, so don't sleep on it!

Random time device
A group of two replaced the clock by their own time-giving device. A random time-giver, giving them tasks that could vary in duration from 5min up to 5 hours. The device also told them randomly when they were allowed to eat, sleep and use the bathroom. Testing these in a blacked out house to avoid any timesaving clues through natural daylight, they gave up complete control over their time and experienced moments of deep concentration.

Games Corner
Thea Christy-Parker

Our lovely new Games Researcher Thea reflects on long distance relationship gaming. With reviews of Stardew Valley and Wordfued.

← G'wan, click it!

After 7 or so weeks in quarantine, and 3 fabulous issues of HORRID Covid!, we are going to take some time out to reflect on everything that has happened.

Following the initial urgency to creatively connect, support each other and react to the changes in our lives that seemed to happen overnight, we were so excited by the response that we met from our magnificent readers, who also showed up overnight. We have shared your dreams and nightmares, your bedroom-offices and your days at school, your songs, the leaves on your plants, your bathroom-dwelling boyfriends, your emails. We've taken comfort with you - turning on every video and slowly scrolling through your lives.

Making plans by the virtual fire in the HORRID Covid! living room over the past weeks, our relationship to the situation outside has often felt unreal. Our bones tell us that it is now time for a slower encounter with the ricocheting realities, and we want to get to know you. We want to stop, look, listen and hang out.

From here on, we will be producing HORRID Covid! monthly (not bi-weekly), and we plan to proceed with 3 more issues through June, July and August as we navigate these next months straddling lockdown and the post-lockdown world.

We are really excited to keep in touch as we experiment with new possibilities for our coronavirus scroll and make plans for issue 4. If you've got ideas you would like to share, a project to collaborate on, a new direction you would like to take us in, now is the time to get in touch! horridcovid@gmail.com

Sending thanks and big love
The HORRID Covid! editors
(Jessie, Mel & Rachel)

Another Note From The Editors

Tenaya Tells It
Tenaya Steed

Asseyez vous! Tenaya Tells It to a teacher who's struggling with the guilt of not doing much at a time when so many are suffering at work (or have even lost their jobs). She takes us back to 2016 (sorryy), when David Bowie died, then Alan Rickman, then Prince. It was the year we voted to leave Europe, and America voted to elect Trump... Don't despair! She's our Agony Aunt and she's got pearls for ya.

↓ Click!

Editor's Note

7 weeks (a whole summer holiday) have come and gone and we're still stuck at home.

But with news that the commuter trains are resuming their services and our old schedules will creep closer as of Monday, we question whether now is the right time to clock back on. Fearful for the consequences, we wish for some real news; a solid, safe timeline for this mess; something concrete to build our plans around.

Time is money, and with the economic logic that usually grips our lives both tighter and looser than ever before, some of us feel liberated, whilst others (watching pals around the world, already back to the future) brace themselves for -

- what, when, who knows? Over the past seven weeks most usual forms of time management and planning have lost their relevance. A tarot reading seems more appropriate than ever.

This issue is dedicated to soaking up time as it freezes or slides by. To its elasticity, to its filmic capacities for action and speed, to its clagginess when every day is the same, to being late (even in isolation), to using time differently, to inventing it anew!

You Can Be Whoever You Want To Be
Madeleine Dunnigan

Click to read the full story

"Sal had spent her life living in other people's rooms. She had resolved, recently, to settle down..."

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What Does Time Look Like? For this issue, we spoke to our friend Adam Green, Editor-in-Chief at The Public Domain Review, 'an online journal and not-for-profit project dedicated to the exploration of curious and compelling works from the history of art, literature, and ideas.'

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Build Virtual exhibition spaces

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Multiplayer Exhibition Space for New Media Art

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White Cube / Emma Cousin Online Exhibition

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White Cube / Emma Cousin Online Exhibition

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Nice bitesize chunks of information and guidance

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Online Exhibitions - Introductions | Emma Cousin - White Cube

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Emma Cousin Stone cold stunner 2020 Oil on linen 190 x 170 cm Photo © Corey Bartle-Sanderson Courtesy the artist

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FOR LIFESAVERS

Times are tough, show some love. Here's what to do. Pick a couple of bad boys below. Print them out and hang them in your window (or send them to your local hospital, doctor's office or nursing home) to show those hard-working lifesavers some love and appreciation. We need them to stay happy, healthy and more importantly sane.

No printer? No problem! There are also files for you to share on your socials.

Let's support all of our medical staff and caretakers while remaining safely inside. You can do this!
WE NEED MORE POSTERS FOR THESE SUPERHEROES!!!

FOR HOME-STAYERS

What if we told you that you could save lives staying inside watching Netflix and eating pizza's? Let's be honest. It's actually a dream coming true for most of us. It's kind of like the grown-up version of getting a letter to Hogwarts. We just wished it would've been under different circumstances. Yet, you can still make a difference and flatten that curve. Be the naysayer. Be a lifesaver.

Download these posters to encourage others to become a remote hero too. Share them on a social media of your liking or print 'em out and stick 'em on your window.

Oh, and don't forget to stay the fuck inside.

About?
Stay Sane, Stay Safe saw the light of day on March 22nd after a friend, who works at a hospital, asked if we had an uplifting poster laying around for his colleagues. We didn't, but could definitely have designed one for him.

In the meantime, Max (Lennarts) had a literal shower thought and afterwards immediately called his partner Menno (de Bruijn) to discuss that this could and should be bigger. That same day a website was launched called Stay Sane, Stay Safe. At that time, the website was still empty, so Menno called another friend, Ronald (de Leeuw), to come up with some texts to fill it up.

Max and Menno form the ultra-multidisciplinary design duo Studio Lennarts & de Bruijn, based in The Hague. Ronald has his own progressive text and communication bureau called overdeschreef.
The three of us liked working together so much, that we have been able to turn SSSS in a fully operating pro bono poster platform with over 1700 designs by creatives from over 82 countries.

BUT, this isn't actually just about us, it's also about you.
It's about everyone of us.

We all feel helpless in this (first-world) madness.
Imagine what it's like for people less fortuned than us.
Yes, we've got a shortage of beds, but we still have beds.
That's why you have to stay inside.
Follow your heart, but use your head.
We wanted to share the right message and spread some love to the lifesavers out there.
At the moment we're working around the clock to make a selection of beautiful posters that we can print and send to hospitals in the area (Netherlands).

This has been a project of

Studio Lennarts & de Bruijn + overdeschreef

With special thanks to Stroom Den Haag, Drukkerij Tielen, Kapitaal Utrecht, Graphic Matters, and hopefully many more to come.

In case you'd like to join this epos, or if you have anything else you want to share with us, holler at us via Stay Sane Stay Safe Email

Hold up! Did you know you've got some superpowers?
You know, the ones that can save lives? You've got 'em!
How do we know?

Well, we've heard that you're a more than decent designer. And we're in dire need of your aid to help save people from themselves in these crazy times called COVID-19 a.k.a. the corona virus.
People need to stay the fuck home so our lifesavers can do what they do best: saving lives.
This means that it's our job as visual communication gurus to inspire people to stay at bay.
And that's where you'll come into play.

We want you to design posters to:
1 - Keep our lifesavers sane. Think happy and uplifting.
2 - Inspire the general population to stay safely inside

We'd like to call this campaign: STAY SANE, STAY SAFE.

Of course, your handle will always be mentioned on the poster, website and social media.
For us creatives these are also tough times, so this is the perfect way to save multiple lives with one design.
Download the templates here!
And submit your effort on the submission page
Eternal karma for your soul,

Team Stay Sane Stay Safe

p.s. if you have anything you want to ask or share > Stay Sane Stay Safe Email

Why isn't my design up, yet? / Why was it taken down?
Well, maybe it actually was up for a brief period of time. We don't curate much, because we're not the ones who decide what's pretty design or not, but we do curate on a great message that is well put together visually. Also, we don't need any of that racist or other divisive stuff! So, if your design got taken down, bummer, but definitely go back to the drawing board. As you can imagine we can't comment on all of your designs why they got taken down. Deal with it and don't forget to kill your darlings!

Wait, what does that red SICK label mean?
SICK is short for staff pick. It's also a word with a negative connotation initially, but flipped into something great, like savage. Classy. Bougie. Ratchet. It's also kind of ironic to use sick on a positive poster platform regarding COVID-19, don't you think? Anyway, in this case it means that these are the designs that we absolutely love at the moment. We try to change them up every now and then. We do this to showcase what we would love to see contentwise. A qualitative inspiration for those who'd like to submit, but also to lure people in further who visit the platform for the first time. Yes, we're sneaky little fuckers.

Hold up, what are you going to do with my work? I don't see anything about rights or whatsoever.
Calm down, Erin Brockovich! All of your works are still yours, we don't temper with that shit. There's a reason why we link back to you and give credits on the posters as well. Our third goal of this entire project was to give you something to do besides Animal Crossing plus to help you maybe get a gig or two out of it.
What we might do is share your poster on social, send it to media outlets or get it printed for public space. If it's something big or if we need you to change something about your poster, we'll let you know! Also, we will never sell prints of your poster without your consent. We value transparency and trust in this community!

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FOR LIFESAVERS Times are tough, show some love. Here's what to do. Pick a couple of bad boys below. Print them out and hang them in your window (or send them to your local hospital, doctor's office or nursing home) to show those hard-working lifesavers some love and appreciation.

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Online workshop lists

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What's happening at Art in the Park?
We have many new workshops and projects running throughout the year. See here for more details.

Art in the Park is a charity devoted to enriching Londoners' lives and environment through the visual arts. We run art, performance-based and heritage projects, education and training workshops and are involved in community, studio and public art projects. Our well-resourced studios and training space are located in the centre of Burgess Park, London and run by a team of experienced and talented artists.

Make a donation

All successful organisations need innovation, creativity, and ingenuity. Art in the Park organises creative team-building days for many different work-teams over the years. These sessions are tailor-made for the group and we are flexible as to content and size of team. So if you're a voluntary sector organisation or a private company, get in touch if you'd like a team day with a difference!

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What's happening at Art in the Park? We have many new workshops and projects running throughout the year. See here for more details. Art in the Park is a charity devoted to enriching Londoners' lives and environment through the visual arts.

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We couldn't load some important parts of our website. They may have been blocked by your firewall, proxy or browser set-up. Try refreshing the page or get in touch through our help center.

You need a JavaScript-enabled browser to use WeTransfer

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We couldn't load some important parts of our website. They may have been blocked by your firewall, proxy or browser set-up. Try refreshing the page or get in touch through our help center. You need a JavaScript-enabled browser to use WeTransfer

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Draw.Chat - Whiteboard Online | Draw on .pdf, .png, .jpeg

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Online drawing for everyone. Anything can be a background. Share easly copies, photos, PDF documents and drawings. Free personal whiteboards with unique links.

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Drawpile 2.2 beta 7 is released! Download it here.

If you find any issues, have questions or suggestions, check out the the help page for links!

And if you want to keep up to date on development, there's a development blog now. There's regular updates being posted there, along with videos and pictures showing off the new features.

Changes in this Release

This release represents about a month of development. There's been fixes, new features and several performance improvements, so if you're on a previous beta version, you should update!

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Drawpile 2.2 beta 7 is released! Download it here. If you find any issues, have questions or suggestions, check out the the help page for links! And if you want to keep up to date on development, there's a development blog now. There's regular updates being posted there, along with videos and pictures showing off the new features.

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L'arte come un gioco: il ruolo dell'artista è quello di renderci più consapevoli dei mutamenti in corso. E quale migliore epoca, come quella attuale, per poterlo fare?

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I hope to be able to touch the inner world of any artwork, not just for viewing, but a virtual world can enter the artwork for viewing, which will give a deeper understanding of the artist's heart.