By Ciara LaVelle
By Jose D. Duran
By Kat Bein
By Juan Barquin
By Ciara LaVelle
By George Martinez
By Kat Bein
By Ciara LaVelle
Greek philosopher Parmenides believed the passing of time was merely an illusion; therefore physical change could not exist. St. Augustine explained physical time as a subjective idealization dictated by our memories. However, the discussion seemed to die down after Immanuel Kant suggested time was a fundamental category that came prior to any human experience.
Since Kant, the debate has not centered on the actual existence of time but the manner in which it is perceived. Frenchman Henri Bergson made an important contribution to this discussion with his notion of "duration" (or durée), meaning the way an individual's past, present, and future experiences intermingle.
For Bergson's hypothesis to have made such an influential impact on modern psychology and literature, something had to have changed. When Marcel Proust described Bergsonian duration as "that translucent alabaster of our memories," he was referring to an idea with which modern civilization had already become obsessed. Why?
Science, technology, and the speed with which we communicate today have made the world more accessible, smaller even, making modern life almost a deviant function of real time. According to Marshall McLuhan, it's as if "We've extended our nervous system in a global embrace, abolishing both space and time."
As spatial barriers disappear, we become more sensitized to this notion of duration (being addicted to things constantly changing). The advent of cinema and the ubiquitous video camera has fundamentally altered our perception of reality -- continually fluid, moving in slow motion, or flashing erratically back and forth.
Every so often, these ideas need to be explored, and "marking time: moving images" does just that; it examines the marking of time through movement. Organized by curator Lorie Mertes, the event features works by Janine Antoni, Miguel Angel Rios, Paul Ramírez Jonas, Felix Gonzalez-Torres, Dara Friedman, Ann Hamilton, and Paul Pfieffer, among others. Though the exhibit will appeal to a variety of tastes, I tend to favor the more abstract, contemplative, and free-flowing works over the didactic and obvious. The following are my favorites:
Felix Gonzalez-Torres seems to be concerned with light and movement. His Untitled (Water) from 1995 is simply a bead curtain that divides one gallery room from another, whereas Untitled from 1991 is one of his infamous stacks of seemingly endless photocopied sheets of pater -- in this case showing images of a water surface. In both works we discover the subtlety of duration through movement. Conceptually close to Gonzalez-Torres's work is Ann Hamilton's lineament. Her installation consists of two chests, both different sizes. The smaller one contains 29 books, the larger one houses dozens of balls made from paper ribbons. A film projected onto the wall shows the silhouette of a woman slowly making these paper balls. The imagery and the sound of the reel-to-reel equipment in Hamilton's piece took me back to the days of shadow theater, a time when the tradition of craft began to wane under the mighty weight of early industrial capitalism.
Showing for the first time in the United States is a video by Argentine artist Miguel Angel Rios, titled A Morir (Till Death). The video depicts a game originally written about in Virgil's epic Aeneid. Popular in Latin America, the game is played with a trompo -- a wooden, cone-shaped toy topped with a metal spike from which a rope is wound. The object is thrown to the floor, top down, and as it spins, competitors employ a series of tricks, such as keeping it inside a square or making it knock over another player's piece.
Rios's video shows different angles of the same scene projected onto three walls. Spinning tops are thrown, one after the other, inside white squares on a black surface. As the toys gain momentum, they roll about, exuding a proud and gracious charm. Then they begin to slow down, hesitating clumsily, until they finally fall.
It's hard not to identify with Rios's dramatic piece, for it exhibits a striking parallel to human behavior. It made me think of these lines written by the late Uruguayan poet Líber Falco: "Life is like a spinning top/Like everything else, it turns round and round/Life is the little and the lot that we have/The coin of the poor."
Dara Friedman's Romance is a nice transition from the serious to the delightful. Her video portrays several couples kissing in different locations (in the park, in the forest, or against the backdrop of a city). These lovers behave as if they were the only souls alive. In their foreplay Friedman captures spontaneity, tenderness, fondness, and abandon. The subjects move slowly, caressing and learning from each other. It's evident these are perfect moments for the protagonists -- when time seems to stop.
How many people have imagined running after the sun before it sets? In keeping with the American tradition of the road movie, Paul Ramírez Jonas does just that in Longer Day (1997). His video records a highway chase, an effort to catch the sun. The artist even admits that making the video became a "vain attempt to make the day last forever." Never mind the vanity: Jonas's straightforward work makes you feel like a pioneer in pursuit of a fantasy.