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For more than two decades, the Center for Tactical Magic has created a wide range of socially-engaged projects that mix art, activism, and diverse forms of magic. Although the collaborations take many different forms, the CTM is largely the result of creative partnerships with a wide array of individuals and organizations including: magicians, witches, ninjas, security experts, a military psychic, a former bank robber, a hypnotist, activists, nurses, and many others. This commitment to exploring disparate expressions of art and action has since led to the creation of numerous projects that consistently address public space, social politics, and community issues through the lens of magic. Drawing from a few examples of past projects, the Center for Tactical Magic will attempt to pull back the curtain and illuminate a creative and magical praxis aimed at constructing desired realities through meaningful interactions. CTM projects have been presented by the San Francisco Museum of Modern Art; Massachusetts Museum of Contemporary Art; Hayward Gallery, London; Museo de Arte Contemporaneo de Vigo, Spain; Deutsches Theater, Berlin; and a major public commission for the City of Toronto. For more info: tacticalmagic.org or @tacticalmagic1


Summit One
Beyond the Horizon: Inventing the Reality

“We live in a world ruled by fictions of every kind—mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer's task is to invent the reality.”

J.G. Ballard, Crash

Reality is not made out of representations but is what makes representations possible. The mind-independent reality withdraws from any direct relation and remains unseen and untouched. Furthermore, the thing-in-itself adds to the mind-independent reality of what we may term conditions of knowability. Therefore, our understanding of the mind-independent reality is continuously conditioned. There can be no absolute knowledge of reality nor a concrete representation of it. Everything falls into the realm of what we may call distortion, like a mere symptom of the hidden reality.

Beyond the Horizon: Inventing the Reality explores conditions of knowability and the relation between mind-independent reality and representation. It investigates how artists utilize different approaches to challenge “that which is” in favor of “that which is not” or “that which could be possible” through their artistic practices. How can artists, through dialectical relations, disclose and elicit new potentialities from reality and challenge our limited understanding of the world’s haecceities?