Then Nothing Ever Happens Because Nothing Ever Does

4 December 2014, 7–9am
Performance | London

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Rosie Hastings & Hannah Quinlan Anderson, Is the Garbar a Grave, 2014. Still from video.
Rosie Hastings & Hannah Quinlan Anderson, Is the Garbar a Grave, 2014. Still from video.

About

An evening of video work and live readings that explore notions of transgression in the physical and virtual environments of late capitalism. Then Nothing Ever Happens Because Nothing Ever Does intervenes into the surreal and clamorous world created by Fitch/Trecartin to produce a temporary environment that foregrounds empty space, numb bodies and fragmented subjects. The artworks bought together for this event consider the process through which moments of resistance and otherness have become increasingly normalised and intertwined with capital.

For Then Nothing Ever Happens Because Nothing Ever Does, excerpts from Holly Childs' Danklands will be performed by Cristine Brache, Todd Woods and Holly Childs in a domestic swampscape environment. Danklands is a work of fiction that enfolds art writing, online and out-of-bounds spaces, and characters that dissolve.

Sandra Lahire's Arrows,1984, is an inquiry into the artist's devouring of self - her illness anorexia. The work is determined, direct and honest, revealing both moments of fragility and insolence.

Jesse Darling's work, Darling's Room With Lyrics (Karaoke Vape Version RAW), 2014, carries us into the familiar territory of feeling alone with others, and the spent interstices of romance, masculinity and hedonism.

Hannah Quinlan Anderson and Rosie Hastings present a new video installation including a soundtrack with Sam Cottington, which asks Is the Gaybar a Grave? Picking up on Jose Muñoz's writing around the horizon as a metaphor of the potentiality for queerness, this work is part of the artist duo's ongoing inquiry into the neo-liberalisation and heteronormalisation of gay rights.

Rozsa Farkas' video text reflects on Lahire's Arrows and brings to the forefront the various meanings of the term #nofuture, by reflecting on the work of Paul Lafarge amongst others.


With thanks to:
Jan Piasecki and Sam Cottington for collaboration on Is the Gaybar a Grave? sound production for the event.
LUX Moving Image for support with presenting Sandra Lahire's work.

Holly Childs is an Australian writer, editor, artist, curator. She makes work around digital semiotics, transformations of language, fashion, aberration, corruption. Her first novella No Limit was released by Hologram (Melbourne) in April 2014. Her second novella Danklands will be published by Arcadia Missa (London) in December 2014.

Jesse Darling works in sculpture, installation, text and "dasein by design", thinking about networked subjectivity and the way that structures - architectural, [bio]political, philosophical - manifest in physical and social bodies. Recent solo exhibitions include presenting a series of new sculptures in How Can It Hurt You When It Looks So Good with Arcadia Missa at START Art Fair, London and Not Long Now at LimaZulu, London, both 2014. Recent group exhibitions include Ends Again at Supplement Gallery and Snow Crash at Banner Repeater, both London, 2014.

Rózsa Zita Farkas is a writer and curator interested in bodies through networks. She is the founding director of Arcadia Missa, London and has co-curated independent projects including The Posthuman Era Became a Girl, South London Gallery and Re-Materialising Feminism, ICA and The Showroom, both 2014. Her writing has been published in Mute Magazine, Eros and DPI Studioxx, and she has presented at events for Transmediale, ReSource006 and Rhizome. Since 2010 she has guest lectured at University of the Arts, London.

Rosie Hastings and Hannah Quinlan Anderson are artists whose collaborative work includes @GAYBAR - a series of exhibitions and events exploring new horizon's within gay bar culture and Where is the Body?, a bi-monthly reading group focusing on queer theory texts. Hannah and Rosie also manage Rye Lane Studios, an artist-led space in Peckham, founded in May 2014.

Sandra Lahire's films have been shown nationally and internationally at cinemas and festivals including Creteil, Locarno, Berlin, Montreal, Sao Paolo, Turin, Jerusalem, Australia and the Philippines. Her writing include Lesbians in Media Education published in Visibly Female (ed Hilary Robinson, Camden Press 1987) and articles for Undercut. She also wrote a musical score for Lis Rhodes' film Just About Now. She passed away in 2001.

Gallery

Rosie Hastings & Hannah Quinlan Anderson, Is the Gaybar a Grave?, 2014. Still from video.
Rosie Hastings & Hannah Quinlan Anderson, Is the Gaybar a Grave?, 2014. Still from video.
Rosie Hastings & Hannah Quinlan Anderson, Is the Gaybar a Grave?, 2014. Still from video.
Rosie Hastings & Hannah Quinlan Anderson, Is the Gaybar a Grave?, 2014. Still from video.
Rosie Hastings & Hannah Quinlan Anderson, Is the Gaybar a Grave?, 2014. Still from video.
Rosie Hastings & Hannah Quinlan Anderson, Is the Gaybar a Grave?, 2014. Still from video.
Rosie Hastings & Hannah Quinlan Anderson, Is the Gaybar a Grave?, 2014 at Zabludowicz Collection, London. Photo: Claire Kurylowski.
Rosie Hastings & Hannah Quinlan Anderson, Is the Gaybar a Grave?, 2014 at Zabludowicz Collection, London. Photo: Claire Kurylowski.
Sandra Lahire, Arrows, 1984 at Zabludowicz Collection. Photo: Claire Kurylowski.
Sandra Lahire, Arrows, 1984 at Zabludowicz Collection. Photo: Claire Kurylowski.
Holly Childs, Danklands, 2014 at Zabludowicz Collection, London. Photo: Claire Kurylowski.
Holly Childs, Danklands, 2014 at Zabludowicz Collection, London. Photo: Claire Kurylowski.
Holly Childs, Danklands, 2014 at Zabludowicz Collection, London. Photo: Claire Kurylowski
Holly Childs, Danklands, 2014 at Zabludowicz Collection, London. Photo: Claire Kurylowski