This Is Tomorrow (1956)

“This Is Tomorrow was a seminal art exhibition in August 1956 at London’s Whitechapel Art Gallery, facilitated by curator Bryan Robertson. The core of the exhibition was the ICA Independent Group.

It has become an iconic exhibition notable not only for the arrival of the naming of Pop Art but also as a captured moment for the multi-disciplinary merging of the disciplines of art and architecture.

The exhibition included artists, architects, musicians and graphic designers working together in 12 teams—an example of multi-disciplinary collaboration that was still unusual. Each group took as their starting point the human senses and the theme of habitation.

The exhibition catalogue featured essays by Reyner Banham and Lawrence Alloway. McHale wrote the text for the page Are they Cultured? and it was intended to be featured with the McHale designed collage that got mispaginated in the catalogue.”

Edited by Theo Grosby
Designed by Edward Wright

Commentary: this is tomorrow 2 (2008), James Lingwood (2009).
Reinterpretation (2019)
Wikipedia

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Rainey, Poggi, Wittman (eds.): Futurism: An Anthology (2009)

“In 1909, F.T. Marinetti published his incendiary Futurist Manifesto, proclaiming, “We stand on the last promontory of the centuries!!” and “There, on the earth, the earliest dawn!” Intent on delivering Italy from “its fetid cancer of professors, archaeologists, tour guides, and antiquarians,” the Futurists imagined that art, architecture, literature, and music would function like a machine, transforming the world rather than merely reflecting it. But within a decade, Futurism’s utopian ambitions were being wedded to Fascist politics, an alliance that would tragically mar its reputation in the century to follow.

Published to coincide with the 100th anniversary of the founding of Futurism, this is the most complete anthology of Futurist manifestos, poems, plays, and images ever to bepublished in English, spanning from 1909 to 1944. Now, amidst another era of unprecedented technological change and cultural crisis, is a pivotal moment to reevaluate Futurism and its haunting legacy for Western civilization.”

Editors Lawrence Rainey, Christine Poggi, Laura Wittman
Publisher Yale University Press, 2009
Henry McBride Series in Modernism and Modernity
ISBN 0300088752, 9780300088755
604 pages

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Gerda Ridler (ed.): Trans_Mission: Vadim Kosmatchof: Organic Solar Sculptures (2007) [English/German]

Der aus Moskau stammende Bildhauer Vadim Kosmatschof lebt und arbeitet seit 1980 in Deutschland und Österreich. Das Museum Ritter präsentiert hier eine Auswahl seiner aktuellen Projekte für den öffentlichen Raum in Bildern und Texten. In Fortsetzung der konstruktivistischen Tradition entwickelt Vadim Kosmatschof das Konzept der biomechanischen Skulptur. Dabei bezieht er neueste Entdeckungen der Biologie, Biomimetik und physikalischen Chemie mit ein.

“Trans_Mission” vermittelt natürliche Energieströme und integriert sie in den städtebaulichen Kontext. Kosmatschof zeigt in seinem großmaßstäblichen Projektzyklus, zu welch innovativen Formen und Typen die Anwendung natürlicher Prozesse und Phänomene auch in der Kunst führen kann. Seine subtilen Konstruktionen treibt eine Energie an, die der Photosynthese ähnlich ist. Sie reagieren mit Gestaltveränderung, Bewegung und Lichteffekten auf ihre aktuelle Umgebung. Fachbeiträge renommierter internationaler Experten beleuchten die kunsttheoretischen und naturwissenschaftlichen Aspekte dieser innovativen Arbeit.

Editor Museum Ritter – Gerda Ridler
Publisher Springer, 2007
ISBN 321170972X, 9783211709726
Length 134 pages

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