The next Franklin Street Works project is called “Slipstreams,” which explores how contemporary artists shape time.
“The perception, measurement, and manipulation of time in our everyday lives is a performance, both personal and shared,” explains the gallery announcement. “We agree on the indications of clocks and calendars, yet often disagree on the length of collective experiences, such as prayer or a television program.”
Exploring this concept through contemporary art from 1964 to today, “Slipstreams: Contemporary Artistic Practice and the Shaping of Time,” curated by Terri C. Smith and Joseph Whitt, features artists who consider “how time is shaped and made visible through performed acts, unique measuring systems and other uncommon means.”
Artists include Pierre Bismuth, Tehching Hsieh, Tara Kelton, Anna Lundh, Samuel Rousseau, Stephen Sollins, Conrad Ventur and Andy Warhol. The exhibition is on view from Dec. 1 – Jan. 21, with an opening reception on Thursday, Dec. 1 from 5-8 p.m.
With support by iaspis, the Swedish Arts Grants Committee’s International Programme for Visual Artists, an interactive art project and performance by Anna Lundh will also be part of the exhibition’s opening weekend. From noon – 5 p.m. on Friday, Dec. 2 and from noon to 3 p.m. on Saturday, Dec. 3, Lundh will reside in the gallery and ask visitors about how they visualize time as part of her ongoing artwork “The Year is a Python that swallowed an Elephant.” She will give a subtly humorous, 40-minute performance that is informed by that ongoing project on Saturday, Dec. 3 at 4 p.m..
The exhibition includes works that focus on both familiar and iconic objects. Stephen Sollins alters daily newspaper TV grids with Liquid Paper and permanent markers in his Static series so that text is obscured and only the schedule’s grid is visible. Samuel Rousseau’s minimalist video installation, Un peu d’éternité (a little eternity), uses a candle and endless projection of a flame to convey an endlessness that our minds can grasp only speculatively; while Andy Warhol takes a characteristically deadpan approach with his film Empire, placing a camera in front of the Empire State Building and shooting it for 24 hours. Tara Kelton’s Time Travel also relies on a stationary camera, pairing it with her laptop’s lens to see a split second into the future.