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this is tomorrow

@thisistomorrow_

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Your companion to International Contemporary Art Exhibitions since 2009
Founded by @jamesgraemedove

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Before Ellsworth Kelly became one of the great artists of abstraction, he served in the US Army’s camouflage battalion — later known as the Ghost Army.

Kelly was a private first class in the 603rd Engineer Camouflage Battalion, a unit that used dummy artillery, inflatable tanks and other forms of visual deception to mislead German forces during the Second World War. One of Kelly’s main jobs was producing silkscreen posters showing American troops how to camouflage decoys.

Kelly later described the work simply: “We were abstracting nature.”

Once you know that, his later sensitivity to shape, silhouette and visual perception starts to look a little different. by @thisistomorrow_

What makes this fact stranger is that it overlaps with the beginning of one of the most radical careers in contemporary art. By the early 1970s, Abramović was already making performances about pain, endurance and the limits of the body — yet she was still living at home in Belgrade under the strict rules of her mother, Danica, a former Yugoslav army major.

Abramović later recalled having to plan her performances so she could be back by ten.

That tension feels important: extreme freedom in the work, strict control at home.

#MarinaAbramovic #PerformanceArt #ContemporaryArt #VisualArt #InternationalArt GlobalContemporaryArt by @thisistomorrow_

David Hockney was five when he first saw a picture of the Bayeux Tapestry.

He was a schoolboy in Bradford during the Second World War. Looking back decades later, Hockney realised why his teachers had chosen to tell children the story of 1066:

“Now I realize that’s why they told us about this story: because it was the last time anybody conquered England.”

Hockney finally saw the real Bayeux Tapestry in 1967. More than fifty years later, in 2018, he returned to see it again while travelling through Normandy. Then he kept going back. Bayeux Museum records him returning again and again, and by January 2026 Hockney said he had seen it more than 20 times in the previous three years alone.

Its structure stayed with him: one extraordinarily long image in which time unfolds as the viewer moves alongside it.

That idea fed directly into A Year in Normandie, Hockney’s own 90-metre-long work following the landscape around his Normandy home through the seasons.

A picture he first encountered during a war eventually became the model for a painting about watching the seasons pass. by @thisistomorrow_

Continuing our partnership with @castlefieldgall and the @the_bluecoat delivering deliver PIVOT, a programme bespoke mentoring and skills development for mid-career artists. Next up @Georgevasey responds to the work of Manchester-based artist Pat Flynn by @thisistomorrow_

Kick off the long weekend by stopping in @addisfineart to experience @nigatu_tsehay 'Pace of Life'. Tsehay's new body of works examines how the spaces we inhabit have a powerful agency in moulding the various fragments of who we are. Tsehay's large-scale works are an exuberant display of colour and abstracted figuration. Don't miss it and check out the full press release by the link in our bio❕❕ 🔝 image details ⬇️

1. Nigatu Tsehay in his Frankfurt studio.
Courtesy of Dieter Schwer Photography
and Addis Fine Art

2. Pace of Life VI, 2021
Courtesy of the artist and Addis Fine Art

3. Peace With Self VI, 2022 Courtesy of the artist and Addis Fine Art

4. Pace of Time IX, 2022 Courtesy of the artist and Addis Fine Art

5. Pace of Life Exhibition/Installation
Courtesy of the artist and Addis Fine Art

6. Pace of Life Exhibition/Installation
Courtesy of the artist and Addis Fine Art

#nigatutsehay #addisfineart #addisfineartlondon #contemporaryart #fitzrovia #addisababaethiopia #ethiopianartist #paceoflife #thisistomorrow by @thisistomorrow_

Who else? I went with middling expectations and had to eat my words. What a show. Don’t miss it. And I mean that. All her best work, coherent, with scale and intimacy and heart wrenching moments. @tate @traceyeminstudio by @thisistomorrow_

TOMORROW!
We will be broadcasting the new commission by Turner Prize winning artist Tai Shani live from Fabric, London at 8pm The performance will take the form of a chamber play and is Shani’s first major performance project since DC: Semiramis for which she was nominated and collectively won the Turner Prize in 2019. It will be one of her most ambitious works to date.
@ArtNightUK by @thisistomorrow_

Ruth Asawa
Retrospective
Guggenheim Museum Bilbao
19 March – 13 September 2026

Ruth Asawa’s work begins with a line—but refuses to let it remain flat. Through a process of looping, knotting, and repeating, she draws in space, transforming a single gesture into volume, rhythm, and air. Her suspended wire forms hold tension without weight, structure without rigidity—each one a system built from patience and repetition.

This retrospective brings together her sculptures alongside paperfolds, drawings, and prints, revealing a practice grounded in observation and material discipline. Line becomes structure; structure becomes atmosphere. What appears delicate is, in fact, rigorous—an accumulation of decisions held in balance.

Asawa’s work quietly dissolves the boundary between drawing and sculpture. It asks what happens when a mark is given time, when repetition becomes form, and when space itself becomes the medium. by @thisistomorrow_

I came across this by accident in Paris. I wasn’t looking for it, but I was walking the streets, looked down an alleyway—and there it was.

Daniel Buren’s Les Deux Plateaux (1986). Stunning, and even better in real life. Kids were jumping between the columns; people were posing for wedding photographs, propped up against them. A completely magical piece of public art.

#DanielBuren #LesDeuxPlateaux #PublicArt #ParisArt by @thisistomorrow_

James Turrell, Roden Crater, ongoing (since 1970s) Sometimes its hard to believe work like this actually exists. One can only wish it was open to the public...

Roden Crater is not a sculpture placed in the landscape.
It is a landscape recalibrated—cut, hollowed, and tuned with precision—so that light itself becomes material. The sun, the moon, the slow rotation of the earth are not references here; they are active components of the work. Time is not something you spend inside it. Time is what shapes the experience.

Turrell does something almost unthinkable within the contemporary frame: he removes the image. There is nothing to document, nothing to circulate cleanly. The work resists the photograph because it is not an object but a condition—one that unfolds only through duration, stillness, and the willingness to remain.

In this sense, it approaches the logic of neolithic structures. Not symbol, but orientation. Not expression, but placement. A chamber aligned to the sky is not “about” the cosmos—it participates in it.

And yet, unlike its ancient counterparts, Roden Crater is built with full awareness of modern perception. It understands the eye as instrument, the body as receiver. It is both archaic and hyper-conscious at once.

To enter it is to feel a subtle but profound shift: from looking at something, to being positioned within it. From observer to participant.

The work does not ask for interpretation.
It asks for attention. by @thisistomorrow_

Joseph Beuys
Capri-Batterie, 1985

One of Beuys’s final works, this simple configuration compresses a lifelong concern with energy, transformation, and the relationship between nature and technology. The lemon becomes a living battery, transferring charge into the inert bulb. It is both literal and symbolic: a quiet demonstration that energy can move through unexpected materials, carrying meaning as well as power. by @thisistomorrow_