This anthology contextualizes art that proposes alternatives to the models of linear time that have underpinned both capitalism and progressive modernity. Contemporary art has explored such diverse registers of temporality as 'wasting and waiting; regression and repetition; deja vu and seriality; unrealized possibility and idleness; non-consummation and counter-productivity; the belated and the premature; the disjointed and the out-of-synch - all of which go against sequentialist time and index slips in chronological experience.' While theorists such as Giorgio Agamben and Mieke Bal have proposed 'polychronic', 'heterochronic' or 'anachronic' readings of history, artists have opened up the field of time to the extent that the very notion of the contemporary is brought into question.
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Amelia Groom is a London-based critic and curator who writes regularly for frieze and other publications. She held a teaching fellowship at the University of Sydney while she was writing her doctoral dissertation in the Art History and Theory department.
This anthology contextualizes art that proposes alternatives to the models of linear time that have underpinned both capitalism and progressive modernity. Contemporary art has explored such diverse registers of temporality as 'wasting and waiting; regression and repetition; deja vu and seriality; unrealized possibility and idleness; non-consummation and counter-productivity; the belated and the premature; the disjointed and the out-of-synch - all of which go against sequentialist time and index slips in chronological experience.' While theorists such as Giorgio Agamben and Mieke Bal have proposed 'polychronic', 'heterochronic' or 'anachronic' readings of history, artists have opened up the field of time to the extent that the very notion of the contemporary is brought into question.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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