Jack Vickridge, detail from the Delay series, 2011
Curated by Luiza Teixeira de Freitas and Thom O'Nions
The exhibition brings together a set of artworks that deal with ways of embedding time, either as a conceptual proposition or within the process of making the artwork itself. Time is rendered by the artwork, produced through it. In Archive Fever errida remarks that the process of archivisation 'produces as much as it records the event', this is an idea that can be put to many of the works in the exhibition. Through attending to time and its representation they produce their own forms of the present, existing discreetly within themselves and within the context of the exhibition.
The title of the exhibition is taken from Milan Kundera's novel Slowness, which flits between two time periods, events take place in the sedately paced 18th century and a hurried, more fragmented present day. Kundera's narrative however is written entirely in the present tense, it weaves together temporal and geographical space, the act of narration and the subject of the narrative seemingly occur at the same time. This is an idea that runs through the exhibition, the artworks are a simultaneity of times and speeds that occur in different registers and locations yet taking place within the temporal and physical frame of the gallery.
The exhibition revolves around a series of questions, brought about by the interaction of ideas of time and of speed; how do we define the speed of a work of art? Does a work dictate its own pace, or is its pace imposed upon it by a viewer? Can an exhibition be conceived of as a collection of relative speeds?
Marinetti maintained in his Manifesto of Aeropainting that the act of being in a plane could in itself be an artwork, an 'aerosculpture' formed through a 'harmonious and signifying composition of coloured smokes offered to the brushes of dawn and dusk, and long vibrant beams of electric light'. The assertion that movement in itself constitutes an artwork when framed in a certain way aptly expresses the relationship between time, speed and movement that the exhibition explores.
Thom O'Nions (Bath, 1985) is a curator and writer based in London. He is co-director of Supplement, London. Recent exhibitions include The Exact Weight of Lightness at Travesia Cuatro, Madrid, Sound Spill (with Haroon Mirza and Richard Sides) at West, den Haag, A Threepenny Opera at S1 Artspace, Sheffield, and Reading a Wave at the Woodmill, London. Recent publications include guest editor for Mono and the catalogue essay for Man in the Dark, published by Woodmill, London.
Luiza Teixeira de Freitas (Rio de Janeiro, 1984) is an independent curator working between London and Lisbon. Presently working part-time as Development Organiser for Chisenhale Gallery in London; as advisor to private collections and curating exhibitions in partnership with Thom O'Nions. She has worked with special projects since 2006 with Alexander and Bonin (NY). She was curatorial assistant for the Marrakech Biennial Works and Places, curated by Abdellah Karroum (2009); curatorial intern at Tate Modern (2008) working with exhibitions such as: Cildo Meireles, Cy Twombly and 9 Scripts from a Nation at War. Commissioned exhibitions include: Like Tears in Rain in Palacio das Artes (Porto, 2010), The Moon is an Arrant Thief (London, 2010) at the David Roberts Art Foundation, London; P's Correspondence (London, 2012) and The Exact Weight of Lightness (Madrid, 2012). She is also actively involved with artists books and publishing.