24 Hours in Contemporary Art: Reflections on an Exhibition About Time

in KronoScope
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Abstract

Time and its representation have been historically fascinating, as Books of Hours, allegories, and artistic calendars testify. This attention to time has become increasingly more urgent recently, as studies confirm. The exhibition Dall’oggi al domani (From Today till Tomorrow), held in Rome in 2016, focused on the discrete single day, with its date and its 24- hour rhythm. The article addresses the main aspects of that exhibition, its historical background, the conceptual attraction for calendars’ grids, the interest of artists in the everyday, the processing of daily digital traces, time-lapse, and 24/7 formats. Artworks were displayed according to their affinity towards time rhythms, time words, dates, calendars, and diaries. Although the itinerary of the show was not chronological, some historical clusters emerged: for example, the importance of the pivotal year 1966 in time consideration.

24 Hours in Contemporary Art: Reflections on an Exhibition About Time

in KronoScope

Sections

References

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Figures

  • View in gallery
    Index of the catalogue of the exhibition, 2016.
  • View in gallery
    Claude Closky, Trois mille quatre cent quinze vendredis 13 / 3415 Friday 13, 1992, book.
  • View in gallery
    Manfredi Beninati, “I have never understood the meaning of ‘time expansion’. Have you? Perhaps it means thinking. This is the way the letter began….” Site-specific installation, 2016, Rome, Macro Museum.
  • View in gallery
    Mario Ceroli, Hourglass, 1966, wood, metal net. Rome. Artist’s collection.
  • View in gallery
    A visitor of the exhibition examining Alighiero Boetti, Dall’oggi al domani / From Today till Tomorrow, 1988.
  • View in gallery
    Brochure of the exhibition with the reproduction of Maurizio Cattelan, Daily Grammar, 1989, Offset lithograph on letterpress-printed board and paper.
  • View in gallery
    Federico Pietrella, Since February 24th to March 4th 2015 (Viktoria-Luise-Platz), rubber date stamps on canvas.
  • View in gallery
    Visitor examining Daniela Comani, It was me. Diary 1900-1999, digital print on vinyl fabric.
  • View in gallery
    Maria Sebregondi, Elogio dell’orologio. Orologio ad haiku—Praise of clock. Haiku clock, 1987, lithograph.

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