Henrik Schrat | Report on Probability B

21 Sep 2012 – 21 Oct 2012

IMT Gallery

London, United Kingdom


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  • 8, 388, 254
  • Bethnal Green

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The one-eyed aliens came down to earth, dug out Modernism, and showed it as a picture story in a melancholic chamber… Henrik Schrat's Report on Probability B is a revisiting of Modernism under the aegis of a Science Fiction narrative. The exhibition adopts the classic premise in Science Fiction of reality as only one probable version, a version that potentially exists beside many other versions. Brian Aldis' Report on Probability A (1968) is perhaps one of the most pure and iconic accounts of this premise: a claustrophobic tale of ‘watchers' observing reality upon reality, observation upon observation. Utopian versions of the future were part of Modernism as part of a belief in technical solutions to problems. If Modernism is not seen as a period with its own questionable destination but as part of a development, as Jaques Ranciere would see it, it becomes another Probability: a Probability B. Report on Probability B sees IMT Gallery ‘transferred' into a kind of museum displaying artefacts of a ‘Space Odyssee'. These artefacts narrate a story about a journey to the stars amidst scattered ‘Remnants of Modernism'; an earthling discovers the One-Eyed Tribe in outer space; Donald Duck is buried in the star-sand; Frank Lloyd Wright's House of Fallingwater, the water gone, a one-eyed alien is scratching in the sediment… Henrik Schrat has studied Painting and Stage Design in Dresden, Germany, and completed a Masters in Fine Art Media at the Slade, London, in 2002. In 2011 he completed a doctorate at the Business School of the University of Essex on the theme of the comic and its potential as visual display of organisations. He has shown his work internationally including Global Players, Tokyo, in 2005 and Eat the Food, Museum of Contemporary Canadian Art, Toronto, 2007. Schrat's visual work has focused on site-specific narrative murals, and drawing work with the comic as multi-use format. His latest visual narratives have extended to wood inlay work, confronting the slow traditional technique with comic style and contemporary content.

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