Zabludowicz Collection, London

The Zabludowicz Collection in London always exhibits really alternative, weird and out-there artists who test the use of technology and push video art. My most recent visit found me the subject of a silent chamber. You are locked in a light-proof and sound-proof square for 5 minutes. The idea is you lose all form of perception and enter a deep state of tranquility. This is what happened and it was a really cool experience. 

Going to exhibitions and keeping engaged with creatives and what's getting out there really enhances our understanding of both the art and logical world.

Haroon Mirza / HRM199: FOR A PARTNERSHIP SOCIETY

Haroon Mirza delves into our understanding of the relationship between matter and consciousness, truth and belief. He creates unique physical experiences at the intersection of art, architecture, sculpture, sound and music. Each of the four works respond in some way to the building, artworks and context of the Collection.

For a Partnership Society centres on the notion that coexistence is a vital and positive force in a healthy society. The title is derived from a theory proposed in 1987 by American scholar and activist Raine Eisler. She described opposing social structures: the dominator model, namely matriarchy or patriarchy, and the partnership model based on the principle of linking rather than ranking. Her ideas were later taken up by Terence McKenna in his exploration of human evolution and our relationship to psychoactive plants. “Eilser believes that the tension between partnership and dominator organisations and the overexpression of the dominator model are responsible for our alienation from nature, from ourselves and from each other.”

Chamber for Endogenous DMT (Collapsing the Wave Function)

Beth Kettel

Working with text, video, costume, sound and sculpture Beth Kettel produces performances and installations that prod and stretch language; its meaning and its feeling.

Kettel presents a new performance grounded in an experimental text, continuing her series using and misusing elements of game shows. The Mist of a Pessimist borrows from rounds and sounds to structure the work: catchphrases as narrative hooks, contestants as characters, a colour palette setting the scene, and The Host, assistants and an omniscient voice-over offering multiple voices. Presented on the opening night, this performance will be video-recorded and subsequently projected in the Invites gallery alongside props and costumes, forming the exhibition installation.