Gordon Cheung (UK), Marianne Engel (CH), Pil & Galia Kollectiv (IL), Isabelle Krieg (CH), Jonathan McLeod (UK), Bruno Pacheco (PT), Rachel Reupke (UK)

Intense, in tense or in tents? The title for the show has arisen out of a miscommunication. Future pluperfect (as opposed to blueperfect) is a Latin tense used in English grammar to describe future actions in the past and not the name of a spoof advertising- or colour-prediction agency. The artists chosen all create different contemporary agendas for past perspectives on the future re-examining particular utopian/dystopian belief structures or schemes (cultism, religious prophecy, visionary thinkers and scientific theory) with the benefit of hindsight. Like the aural oversight kept in the title, there is a sense of idealism to these artists' acceptance of others' actions. They find new relevancy in evidence of fallen systems or outmoded ideologies plucked from the historical recycling bin.

The future pluperfect is also known as the hortatory subjunctive; "hortor" meaning urge in the sense of making something happen or be done. And the majority of the artists here employ facets of the instructional, call-to-arms facility of media messaging in ways that blur the boundaries between truth and fiction.

Pil and Galia Kollectiv play directly with our understanding of the structures at work within the social body. Their 2007 film 'Better Future Wolf-shaped', for example, follows the tenderly funny rituals of a modernist cult with a documentary-critical eye; reminding us equally of the political motivations behind the telling of a story as the dogma of its subjects.

Bruno Pacheco's paintings reveal benign groups of people apparently united by one kind of passion or another. Clowns, tourists, a ring of dancers are rendered through a filmy technological glaze prompting speculation that what we see, perhaps, is several times removed from source and reality. The everyday nature of their curious activities begs the question of what distinguishes cult from civic life.

Rachel Reupke digitally manipulates video footage of real sites to question the political processes governing forms of cultural development. In 'Now wait for last year' (2007) she gave the architecture of Beijing a corporate-style makeover incorporating both traditional and futuristic urban elements, thereby subtly traversing very different ideological standpoints on the notion of progress.

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