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.