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Worldwide,
14 Sep 2010
'this is tomorrow' is 1 year old.
It gives me real pleasure to say that, as of today, ‘this is tomorrow’ has been live for one year. Our mission is simple, to transport you to some of the most significant artist’s exhibitions and projects around the world in as much depth and detail as possible.
Developing a project such as this requires the input of a number of skilled and enthusiastic people. Firstly I would like to thank my team and our writers, many of whom have been with me since the beginning, they make running the website a hugely enjoyable endeavour. Our funders require a special mention; faithfully supporting our activities come what may. In addition I would like to thank all the institutions and artists that we have worked with, by supplying the content that we enjoy, they are opening their projects up to be enjoyed by a much wider audience. Lastly I would like to say a thank you to our readers, you make it all worthwhile.
James Smith, Editor.
Here are five of my favourite posts that we have published throughout the last year.
Etienne Chambaud was a particularly challenging show to archive. Taking place simultaneously across three European institutions, it put our platform to the test, but also proved the power of being able to interconnect exhibitions and ideas as they happen.
John Baldessari is without doubt my favourite set of images, madcap and arresting, cheeky (due to its location on a shopping street) and intellectually inquisitive. The article also features one of my favourite reviews, this one by Freddy Syborn.
Bruce Nauman. This post articulates what I believe to be the importance that the Internet now plays in disseminating ideas. I came across this performance quite by accident. It was first proposed in 1969 but was not produced until 30 years later. Luckily we now live in an age where works of art are no longer bound to an immediate location but can be enjoyed by the widest possible public.
The Living Currency. This article speaks to me of the importance of documenting work for future generations. Ephemeral and fleeting exhibitions such as these live on mostly in memory and as spoken anecdote. If we can, however slightly, provide a context for revisiting temporary works, then I believe we have a role to play in the future.
Lastly I wanted to mention our Artist Profiles, these are a new addition for us and will be further developed so that we are presenting one every month. I particularly enjoyed working with Eileen Simpson and Ben White for their feature, as their work has so many analogies with the ideas that we are interested in. They explore the interplay between the ‘digital’ and the 'real', copyright, dissemination of information and the layering and reinterpretation of history.
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