The Performance of Time
Is the moment in which you are reading this, looking at these images, work? That is, are the unclassified, undocumented, unscheduled passages of time meaningful and valuable? Art might appear to create a special kind of time, but it also must be performed. Performance, as art, can at once set an event or object apart from the world and materialize the elusiveness of lived experience: art performed must be invested with real labour.
Hazel Meyer transposes the visceral time and work of art, sports, macramé and knitting onto each other in performances that share a necessary roughness.
Snapshots capture Erwin Wurm‘s sculptural formations made of objects at hand as they exist in the moment — they are ephemeral yet present, concrete and perceivable.
Wilhelm Sasnal tries to capture what it means to exist in the current moment, creating an organized point in time within the chaos of a school’s recess period whose meaning relies on its inevitable dispersion.
Fischli & Weiss provide evidence of the imaginative play at a breakfast table which would otherwise be privately erased from an average day. The time and labour behind craft becomes fused into steel and utility in Joep Verhoeven‘s lace fencing, patterns of Dutch handiwork guiding the wiry boundaries of industrial ground.
Click here to watch a full length video of the way Peter Fischli and David Weiss see time and matter passing
Famous conceptual artist Bruce Nauman remembers the time when he started thinking about what artists do.
Performance art intersects with wide-reaching philosophical debates. Philosopher Paulo Virno argues that the mastery of performative arts shares and even creates the base for contemporary labour, making every person who works a performance artist. Similarly, feminist and Performance Studies scholar Peggy Phelan believes performance is ultimately non-reproductive and so has the potential to resist this idea of work.