The Performance of Time

Hazel Meyer Football Intestine thumbnail
Hazel Meyer Balls thumbnail
One Minute Sculp­tures thumbnail
Out­door sculp­ture thumbnail
One Minute Sculp­tures thumbnail
Anar­chia thumbnail
The First Blush of Morn­ing | A New Day Begins thumbnail
Lace Fence thumbnail
Hazel Meyer Football Intestine
Hazel Meyer Balls
One Minute Sculp­tures
Out­door sculp­ture
One Minute Sculp­tures
The First Blush of Morn­ing | A New Day Begins
Lace Fence

Hazel Meyer Unnec­es­sary Rough­ness – an audio-intestinal sports opera Col­lab­o­ra­tion w/ Richard Reed Parry, Galerie VAV, Mon­tréal, 2001

Hazel Meyer wALLS tO tHE bALL– Sackville

Erwin Wurm One Minute Sculp­tures, 1997 45 x 30 cm c-print

Erwin Wurm Out­door sculp­ture, 1998 120 x 80 cm c-print

Erwin Wurm One Minute Sculp­tures. 1997 45 x 30 cm c-print

Wil­helm Sas­nal Anar­chia, 2001

Peter Fis­chli and David Weiss The First Blush of Morn­ing | A New Day Begins, 1985 from the Équili­bres series, 1984–87

Joep Ver­ho­even Lace Fence

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.

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.

Extra Links:

Famous conceptual artist Bruce Nauman remembers the time when he started thinking about what artists do.

Natasha Myers’s project Becoming Sensor explores the deep-time of Toronto’s Black Oak Savannah that is both in-the-making and coming undone.

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