Exhibit> Phase



After an exciting conclusion to the Perform phase last night we have now moved into the Exhibit…

‘Exhibit’ is the concluding phase of activity, and marks Reactor’s deliberate physical absence in the gallery space – having been resident and increasingly active in the space throughout the ‘Gather’, ‘Assemble’ and ‘Perform’ phases. The messy remains of the ‘Perform’ event have been compounded and congregated to create a more casual assemblage, akin to others encountered in the earlier phases of the project. Accompanying these objects is a video excerpt taken from a camera worn by Reactor during the ‘Perform’ event, which offers a partial history of sounds, atmosphere and spatial elements that made up earlier incarnations of the project. These remnants occupy the gallery allowing the new visitors to piece together what went before, and for those following each phase of the project the possibility to trace the assemblages, actions and anecdotes to their exhibited resting place.

Images from the Perform Event will follow…



Perform, PERFORM>!



As we move towards the culmination of the Perform phase we have reworked the Log!c ?stem diagram to reflect the current moment within the project and how this phase has focused our attention. The last few days have been busy with developing our Perform score, which we have written in the Log!c ?stem notebook and will work directly from during the event. Final preparations are underway for the Perform event tonight at Flux Factory NYC 7-10pm. See you there!




There is a special evening event this weekend – ‘Perform’ on Saturday 16th November 16th, 7-10pm Flux Factory, New York City

‘Perform’ is the culmination of the third phase of activity, and will bring Reactor’s residency in the space to an end. Having gathered and assembled objects, spaces and anecdotes, Reactor are now exploring the potential use of these things, extrapolating how we should or could perform them. Rather than a pre-determined, structured methodology, Reactor are using improvisation as a form of anti-logic. Improvisation cannot be rehearsed, but the Log!c ?stem posits the rules of the game, and this ‘Perform’ event offers the first opportunity to witness Reactor as they actively play the score for the first time.

Having begun with things, gathering and assembling them with no predetermined function; Reactor have offered up the potential for others to become involved, both physically in the space, and by joining an amorphous online community of Reactor ‘Remote Members’. This dispersed involvement in the production of the work has amplified the potential for free association and misunderstanding, as we have collectively learnt how to interpret, intuit or compound the Log!c ?stem.

This is an amended version of the text and images used to describe Log!c ?stem, that represents Reactor’s current thoughts on this project; they have been written in such a way as to accommodate further correction and revision. This information will be updated as the Log!c ?stem develops.


Cod Pieces


We started to tidy up a bit. Get things into place. Bring things into play. Complete the list of Assemble> jobs and review our ideas for the Perform> stage. Foam filler came out again and we filled some pigs, split other pigs for cod pieces, gathered a new OHP (orange gel this time) and carried on weaving.  The list of Perform> actions has been drawn up – we will be trialing these over the next few days and making short video clips of each action before formulating the score.

In between jobs, we have been playing online anecdotal consequences with the Remote Members using Google Drive (and our memories). For the RM’s the memory is of something the Physical Members experienced and later told them about, so it’s all a bit complicated.

On a side note, “You Don’t Bring me Flowers” by Neil Diamond & Barbra Streisand is our new favourite song in the gallery. We would suggest playing it on repeat. Enjoy.

Pig Skin


It’s getting messy in the gallery as we endeavour to complete the list of objects to be assembled (that is updated on a daily basis  in the book). Nearing the end of the Assemble> phase  this physical state of the gallery is effecting our mental processing of the Perform> phase,  as the ideas that are emerging involve messy substances and actions. If you are coming on Saturday, there is no need to worry – we will provide the option of appropriate protection.

At the end of each phase we have re-worked the Log!c ?stem Diagram, and today this has produced #3, using gathered orange paper, copier and contrast settings to reflect the emphasis on different aspects of the Log!c ?stem at different temporal moments.

Trifurcated Gather> resulted in two successes (building materials and more pigs) and one fail (orange ‘First Responders Disaster Vests’). Multi-layered Assemble> butchering pigs, making aprons, more weaving, and the creation of a reel-to-reel corridor.External input came  via a studio visit from Maia K. Murphy (Program Director at Recess) who suggested we might be liberating the objects we assemble.  With Remote Members we discussed Perform> and the creation of a pentagon of fans swirling up a vortex of cheese balls.Image 2


Painting (Art)

DO and ABH debate painting

A: Has someone made a painting?
B: yes Reactor
B: found surface
B: drips of expanding foam
B: stencilled shapes (from around found foam pebbles)
A: what else is it, it looks flat
A: and what is the function of this painting
B: we don’t know yet
A: I find it quite disturbing
B: there are lots of things that are being worked on that we don’t yet know how they will be used
A: I find the paiting most disturbing though as it looks the most like an art object and that is not something I would naturally associate with Reactor.
D: you can use some as transitional objects in order to reach independence
D: i think the painting will work well as this, if combined with the correct anecdotal support.
A: does that mean it would be a fully formed component as it is now?
D: it looks like it has the right level of tactility
A: I was hoping it was a climbing wall
A: Now it looks more like strange UFO acorns falling from the sky
B: what would the correct anecdotal support be
B: could this also be a physical support to rest the painting on
A: What is the accompanying background to the ‘painting’
D: this I find very exciting. the idea of an actually existing (AKA physical) anecdotal support. A: Yes that’s an anecdotal support. B: what’s an anecdotal support, isn;t that just a plastic orange pop bottle used as a kind of stand? A: Well, you’ll never believe what happened…”
B: what do you mean
A: the story of how you came by the things that made the painting
B: Doug left the board panel in the gallery, because he ws going to use it to make a base for a chicken coup
B: Maybe it was part of a wall that he took down
B: the board was used to protect the floor when we were filling gloves with foam
B: then we decided to create stencils by drawing round the foam pebbles we found in Red Hook
A: The history to the ‘painting’ is more interesting than the ‘painting’ itself. I feel a bit hung up on this. I think it relates to the current positioning of the board in a way that is looks like an intentional painting by being propped up the way it is. I would suggest that this ‘painting’ needs some sort of function in the performance stage so that it is not just functioing as a ‘painting’ (I think I am allergic to the idea of it being a static adornment) – Personal opinion of course
A: On the flip side to hating the painting I am loving the wall covering
B: maybe we’ll mount the painting on the wall 😉
A: NO!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
D: definitely mount it


Wheeley Reels

Image 1

“Dali had faith that they (words and objects) could be fused and that “everyone” would “be able to read from things.” When Andre Breton first dreamed up surrealism, he did so by trying to make good on a dream. He dreamed of finding a book at a flea market, a book with a wooden statue of an Assyrian gnome as its spine, and with pages made of black wool. “I hastened to acquire it,” he writes, “and when I woke up I regretted not finding it near me.” Still, he hoped “to put a few objects like this in circulation.” 

– Thing Theory, Bill Brown

Through discussion and discovery whilst assembling in the gallery today we pondered on objects, things and setting/situation – questioning whether we were becoming preoccupied by simply altering the setting for the work, and what the possibilities and requirements for performing ‘spatially installed elements’ (non-objects) might be? Returning to the idea from the other day about ‘regarding what might seem to be non-objects as objects within Log!c ?stem’.

Since arriving at Flux Factory we have talked about creating a room within a room, or a veil across the existing surface of the gallery. As an initial attempt to achieve this effect, a narrow corridor has been created by hanging black scaffolding safety netting – ubiquitous on construction sites in the surrounding LIC area – from the roof beams. Further discussion has suggested using this technique again to narrow the existing corridor that leads from the roller shutter entrance. These dark shrouds obscure visibility and provide a backdrop for other activity; both limiting as well as offering possibilities for movement within the space. But how might these surfaces be performed in the next phase? Perhaps by refusing to accept them as they are.

Expanding foam,  more gloves on sticks,  the scaffolding netting corridor, reels on wheels, reverse process, reversing the glove foam filling process.