Making Art, Making Time

Congrès de la College Art Association
New York, 13–16 février 2013
Hilton New York, Sutton Parlor South, 2ème étage
Samedi, 16 février 2013, 9 h 30 – 12 h
> Pour plus d’informations, voir le site web de la conférence : conference.collegeart.org/2013

Programme et intervenants

Ignaz Cassar (artist) and Eve Kalyva (University of Buenos Aires): Introductory Remarks
Christine Ross (McGill University): Contemporaneity and the « Unframability » of Time(s)
Mechtild Widrich (Eidgenössische Technische Hochschule Zürich): The Tensed Object of Performance
Terry Smith (University of Pittsburgh): Cotemporality
Patricia Kelly (Emily Carr University of Art and Design): Twenty-Second Delay: Time, Memory, and the State of Here and There
Katherine Mezur (independent scholar): Acts of Time/Endurance: 9 Encounters in Twenty-Seven Hours in Berlin, Tokyo, Mumbai

À propos de la conférence

This session wishes to query the current attention to art’s contemporaneity in both theoretical and practical terms. Contemporary art can be understood as a particular temporal definition of art production in relation to the historical moment; with this in mind, we wish to address the implications or potential ramifications of the term « contemporaneity » in relation to art, history, and criticism. While art practices have developed new ways of engaging the spatio-temporal continuum of experience, the notion of contemporaneity has been considered in relation to historicity and memory, ethics, and the value of the new (Groys, Agamben, Deleuze, Riegl).

In this light, we invite particular focus on how the concept of contemporaneity is problematized and interrogated in installations and works that use new time-manipulating technologies. Installation and performance art intensify the experiential dimensions of art that thematize the now. Equally, the use of new technologies re-activates an enquiry into different types of contemporaneity and the relation of art making to historicity. For their part, and responding to the immediacy of such practices, twenty-first century art institutions have developed more fluid forms of presentation and more readily-available forms of public engagement (e-bulletins, blogs, podcasts).

With this session, we encourage papers that explore the temporality of art in works (and their presentations) that themselves engage with the notion of time. How do works deal with time, engage with a particular time or instance, and negotiate their own temporal limits?