Time in Film

Time Travel 

• Back to the Future
• Midnight in Paris
• Interstellar

Alternate Time Lines

• Donnie Darko
• Mr. Nobody

Repeated Timelines

• Groundhog Day
• Happy Death Day

Artist Reference

• TeamLab

• Rube Goldberg machines
• Forever Bicycles by Ai Weiwei
• Alexandra Dementieva, Anna Frants & Aernoudt Jacobs
• Brian House – Animus

 

• Subject, form, context and content on the use of time and space in film, video, sound and, performance art, or interactive art installations
• Compare and contrast the artworks

Use of Time & Space

Performance Art

I. 3rdi

Subject	Day-to-day activities
Form	Photographs
Content	Experiences of artist’s daily life
Context	The need to ‘objectively capture [his] past as it slips behind [him] from a non-confrontational point-of-view’

Waafa Bilal is an Iraqi-American visual artist and university professor at NYU’s Tisch School of the Arts, who is widely recognised for his interactive and performance pieces.

3rdi, a contemporary art project, was commissioned by a new museum in Doha, Qatar. The project required Bilal, in the name of art, to undergo a procedure to have a small digital camera implanted in the back of his head, ‘as an allegorical statement about the things we don’t see and leave behind’, aiming to raise ‘important social, aesthetic, political, technological and artistic questions’.

The camera was intended to capture his everyday activities at one-minute intervals 24-hours a day, then transmitted to monitors at a museum, creating a ‘three-dimensional, real space-and-time experience’.

One of the social conditions we live in is surveillance and what I wanted to do as an artist, I wanted just to reflect it simply to the public in order to initiate that platform so we enter the dialogue. - Waafa Bilal

• Concerned with the communication of public and private information to an audience so that it may be retold, distributed
• Political dramas which unfold through my past experience and into the present where they interact with the currency of media as the dialectic of aesthetic pleasure and pain
• The 3rdi is just such a platform for the telling and retelling of another story
• During my journey from Iraq to Saudi Arabia, on to Kuwait and then the U.S., I left many people and places behind. The images I have of this journey are inevitably ephemeral, held as they are in my own memory. Many times while I was in transit and chaos the images failed to fully register, I did not have the time to absorb them. Now, in hindsight, I wish I could have recorded these images so that I could look back on them, to have them serve as a reminder and record of all the places I was forced to leave behind and may never see again.
• Need to objectively capture my past as it slips behind me from a non-confrontational point of view
• Anti-photography, decoded, and will capture images that are denoted rather than connoted, a technological-biological image
• In this way I become locked to the story as its teller, passing the interpretive mode to an audience with little context so it may be transformed for their subjective interactions and subsequent expressions. Using this narrative triangle, the work will comment on ways in which imagery is used for the telling and retelling of stories, whether they belong to us or we make them ours.

 

II. Death Bear

• The Death Bear is a dude in a bear suit who comes to your house and takes away stuff to bring you closure; sort of like the Salvation Army, but in a bear suit.
• They assemble letters, a candle, a blazer and present them to the sinister costumed bear who appears at her door.
• The seven-foot-tall character created by performance artist Nate Hill visits homes across the borough, a furry spectre acting as part psychologist — part sanitation man.

Death Bear will take things from you that trigger painful memories and stow them away in his cave where they will remain forever allowing you to move on with your life. - Nate Hill

• Give him an ex’s clothes, old photos, mementos, letters, etc. Death Bear is here to assist you in your time of tragedy, heartbreak, and loss. Let Death Bear help you, and absorb your pain into his cave.

II. We See/We Hear/We Are

Read more about the project here: https://personofthecrowd.org

Collectively, this is a culmination of both physical and virtual wanderings into the nature of what it means to be a flaneur in the 21st century, and, fundamentally, what it means to live in contemporary society.

We See 

• The text you see flashing is an A.I. Bot’s real-time interpretation of the Instagram photos being tagged #personofthecrowd
• These translations of images will be projected alongside ‘WE HEAR’ 
• To participate, post a photo to Instagram using the hashtag; your photo can respond to the exhibition, both inside of the museum and the events in the surrounding area, reflect where you happen to be at the moment or, more abstractly, something you stand for

We Hear 

• ‘We went to 30th Street Station to act as flaneurs of sound, spending 11 minutes listening to the space around us, then writing down what we heard and reciting it to each other’
• Results edited into a 7-minute video, to be shown alongside ‘WE SEE’

We Are

• Commissioned performances will be documented on this site
• Various ancillary materials drawn from and related to these performances will be incorporated and dispersed throughout this site, with the aim of creating a new, digital-based work as performative documentation

III. The Akasha Model

Subject	‘Archetypical record of all sentient thought’
Form	Interactive installation
Content	Sounds of artist’s brain waves; interactivity, sculptural objects
Context	‘Emphasise the philosophical difference between perceptual knowledge and reality and how this manifests in the interaction of technology and culture’

• Emphasize the philosophical difference between perceptual knowledge and reality and how this manifests in the interaction of technology and culture
• Bartlett is concerned with action and repetition and “the manipulation of the relationship of a medium to itself
• A project that includes a sound installation, interactivity, and sculptural objects
• Artist recorded his own brain waves during a series of different thought exercises in an attempt to create an ‘archetypical record of all sentient thought’
• This exhibition is an immersive installation in our Project Room. The recording is a 24 minute loop, broadcast wirelessly to headphones via an FM transmitter in the gallery. The entire installation includes sculptural ears, headphones, and transmitting and receiving equipment.

	Similarities	Differences
3rdi	Explores the concept of time Taps into artists’ private lives	Based on linear time Photographs Documented according to real time; not edited
The Akasha Model		Based on biological time Mixed media

Art Installations

I. LIGHT is TIME by CITIZEN

II. Magic Carpets by Miguel Chavelier

III. The End by Andrea Galvani

 Film

‘A boy stands on a station platform as a train is about to leave. Should he go with his mother or stay with his father? Infinite possibilities arise from this decision. As long as he doesn’t choose, anything is possible.’

 

 

 

References

http://www.digitalmeetsculture.net/article/the-time-keeper-3-artists-explore-about-the-concept-of-time/

https://www.theverge.com/tldr/2017/4/25/15419424/animus-river-art-installation-brian-house-pollution-sounds

http://nypost.com/2010/11/23/nyu-artist-gets-camera-implanted-in-head/

3rdi

https://jezebel.com/5488363/when-you-cant-shake-the-heartbreak-its-death-bear-to-the-rescue

http://nypost.com/2010/02/24/death-bear-afoot-in-brooklyn/

http://www.sociopath.online/death-bear.html

http://www.bgfa.us/artists/bartlett/index.html

http://www.manbartlett.com/installations/

https://personofthecrowd.org

Oli Rodriguez: The Last Seduction and Man Bartlett: The Akasha Model