The final event of the 'Now, How?' series will centre around a reading, to mark the publication of the poetry collection 'Everyday Luxuries' by William Kherbek. The reading will bring together a group of writers working across a range of genres and forms including Caspar Heinemann, George Titheridge, Phoebe Blatton, Aurelia Guo and Eva Funk. At its conclusion, there will be a live, art-based pub quiz held in the lecture space, including prizes for the winning team, in an effort to raise funds for Berlin homelessness charities.
The series of events presented under the title, 'Now, How?' attempts to approach a number of crucial and urgent questions. At no point in history have global populations had greater capacity to communicate and exchange ideas and cultural artefacts with each other than they have now. The results of this capacity, however, have often lead to retrenchments and revanchiste narratives rising to the fore rather than new or liberatory forms of social organisation and interaction. Though art is a separate sphere from politics, the structural dynamics, and, often, performative roles that underwrite politics, are inherently inscribed within artistic practice. 'Now, How?' seeks to investigate these interlocking sets of expectations, hegemonies and discourses. The unifying questions that animate the project are the following: What are the salient characteristics of the present moment which distinguish it from others? How are these features used to foreclose or to open forms of dialogue? In a time of perpetual crisis, what does it mean to live both in an overwhelming present moment, but also to create liberatory structures for futurity? Do we truly live in something like the theologian, Paul Tillich’s 'Eternal Now?' If so how?
Together the 'Now, How?' series aims to present a wide range of viewpoints on critical issues informing the socio-political and cultural discourse of 2017. The use of the so-called 'distracted boyfriend' meme, one of the most popular bits of internet ephemera from the year, as the exhibition’s press image is both a joke and a warning: we live in times in which every second counts, and in which the hands of the ever-ticking clock can move in multiple directions at the same time.