Materializing Duration in Contemporary Art
2 Sussex Avenue, Innis Town Hall
Time: Apr 19th, 4:00 pm End: Apr 19th, 6:00 pm
Interest Categories: Visual Studies (UTM), Information, Faculty of, Digital Art/Humanities, Diaspora/Transnational, Communications, Communication, Culture, Information and Technology (UTM), Cinema, Arts, Culture and Media (UTSC), Art (FAS), Architecture, Landscape, Design, 2000-
Public lecture by JHI Distinguished Visiting Fellow Christine Ross
The Jackman Humanities Institute presents a public lecture by our Distinguished Visiting Fellow for 2016-2017:
CHRISTINE ROSS James McGill Chair in Contemporary Art History Department of Art History & Communication Studies McGill University Director, Media@McGill
MATERIALIZING DURATION IN CONTEMPORARY ART
Contemporary art has always been engaged in the aesthetic exploration of duration—the lived experience of time. At least since the 1960s, this engagement has become particularly prevalent in artistic practices experimenting with temporal media (performance, film, video and emerging digital media) to investigate not only our mediated relationship with time but also the evolution of duration in relation to the life of media. That commitment has taken a special turn since the 2000s, in artistic practices that materialize time. These practices, especially those associated with new materialism and speculative realism, investigate the duration of objects considered as materialities, including: archives, images, textiles, human and nonhuman bodies in interaction, cameras and screens, atoms, plants, artifacts and everyday objects. What does this materialization of duration consist in? The lecture proposes the following answer: the materialization of duration is an environmental temporality, i.e. it produces environments. Bringing together recent durational works by Melik Ohanian, Mark Lewis, Anne Imhof, Hajra Waheed, Patrick Bernatchez and Nadia Myre, the lecture examines how these works create environments temporally and why that environmental temporality is critical today. It also examines how these durational environments generate original reformulations of the moving image; how they problematize the anthropocentric conception of time; and how they question contemporary temporalities that tend to erase duration—chronology, for example, but also postmortality, unsustainability, acceleration and the conceptualization of time as uniform, same and one.
Christine Ross is a scholar of contemporary media arts, in particular: the relationship between media, aesthetics and subjectivity; visuality; mutations of spectatorship in contemporary (participatory) art; augmented reality; and reconfigurations of time and temporality in recent media arts. Her books include: The Past is the Present; It’s the Future too: The Temporal Turn in Contemporary Art (Continuum, 2012); The Aesthetics of Disengagement: Contemporary Art and Depression (University of Minnesota Press, 2006); and Images de surface: l’art vidéo reconsidéré (Artextes, 1996). She has coedited (with Tamar Tembeck and Theodora Tsentas) Conflict[ed] Reporting: War and Photojournalism in the Digital Age [special issue of Photography & Culture, 8 (2), August 2015]; and (with Olivier Asselin and Johanne Lamoureux) Precarious Visualities: New Perspectives on Identification in Contemporary Art and Visual Culture (McGill-Queen’s University Press, 2008). She has recently coedited (with Darin Barney, Gabriella Coleman, Jonathan Sterne and Tamar Tembeck) The Participatory Condition in the Digital Age (University of Minnesota Press, 2016). She is now working on a series of articles and a book manuscript on perception in movement in contemporary spatial art practices.
WEDNESDAY 19 APRIL, 4:00 P.M. INNIS TOWN HALL – 2 SUSSEX AVENUE
This event is free and open to all. Registration is not required. For further information, or to make arrangements for accessibility requirements, please contact Kim Yates at email@example.com or (416) 946-0313.
Click on the image of the flyer below to download it as a .pdf file.