The fourth issue of Incognitum Hactenus will be published in connection with my exhibition On the Desperate Edge of Now at Dumbo Arts Center (New York) in Feburary 2013. There will be an online version and printed catalogue version of this issue. We are seeking contributions that deal with ghosts, history, the cinematic, cultural memory, historical trauma, and the conflation of time.
On the Desperate Edge of Now explores historical trauma, collective cultural experience, and personal memory as represented in contemporary visual art and horror film. Titled after the first episode of British filmmaker Adam Curtis’ 1994 BBC documentary The Living Dead, On the Desperate Edge of Now positions the construction of memory as a coping mechanism for both the individual and an international public. Expanding the notion of “horror” to include a more philosophical context of understanding the world, this exhibition employs horror cinema as a structural guide to locate the ever-present now. Through an adoption of Gilles Deleuze and Henri Bergson’s notion of the now as an “ever shifting amalgam of past, present, and future”, On the Desperate Edge of Now aims to evoke a haunting at DUMBO Arts Center in February 2013. Artists: Heather Cantrell, Folkert de Jong, Joachim Koester, and Marnie Weber.
Open call: if you are interested in contributing to On the Desperate Edge of Now please send a 200 word abstract to both editors: email@example.com and firstname.lastname@example.org. Please note that not all submissions will be accepted for publication.
Image: Folkert de Jong, Operation Harmony (2008)
OPEN CALL FOR SUBMISSION
Living On: Zombies
Incognitum Hactenus is re-thinking the zombie.
The release of George A. Romero’s Night of the Living Dead in 1968 solidified our cultural awareness of what a zombie was and marked the beginning of the zombie film as a staple of Hollywood storytelling. Now a (regenerative) genre unto itself, the zombie movie invariably sees a band of survivors escaping from hordes of the undead, re-animated corpses limping mindlessly across desolated, post-apocalyptic landscapes that used to be our homes. Defined in part as a response to late capitalism, the zombie has come to represent humanity’s mindless consumerism, as in Romero’s second, and genre defining zombie movie Dawn of the Dead (1978), religious zealotry, the end of civilization, anxiety about our reliance on corporate medicine’s experimentation, 28 Days Later and 28 Weeks Later (2002 & 2007), conservative America’s racism, homophobia or general bigotry and so on.
In the next issue of Incognitum Hactenus – Living On: Zombies – we want to think beyond this narrow category to a beyond, to a realm of post-contemporaneity where the zombie, instead of being a figure of Romantic critique, is seen in a new light. This will be a double-death, the Romantic Zombie dies to make way for the Post-Contemporary Zombie. It is our claim that a rethinking of the zombie in this way produces new languages that can talk about, amongst other things, art beyond the current moment. Post-contemporary art and the Post-Contemporary Zombie stumble hand in hand into a new world. Happy writing.
Open call: if you are interested in contributing to Living On: Zombies please send a 200 word abstract to both editors: email@example.com and firstname.lastname@example.org. Please note that not all submissions will be accepted for publication.