Presenting representation in arrangement of twenty four frames including zero, 2007
In arrangement of twenty four frames including zero, 2007, twenty-four digital photo-transparencies hang along a line spanning the length of a room. arrangement of twenty four frames including zero shows the difference between the measurement of time by the number of hours in a day and the quality of time.
The sequencing shows time as synchronic by the chance generation of qualities in each frame (the wall and digital photo transparencies) of the sequence and the subsequent arrangement of the sequence in conjunction with its starting point. The quantity results in an arbitrary measurement according to the calendar which says that there are twenty four hours in a day. Resembling the X coordinate of an X-Y grid the arrangement symbolizes time. The length of the line determined by the width of the room presents a finite distance from which a potentially infinite number of transparencies might span. Thus, any transparency represents an arbitrary account of time on the space subject to chance. It would be a mistake to think that hour 1 is any better than hour 2, or 3, etc.
A multiplicity forms by photographing the same area every hour. The multiples reveal indeterminate atmospheric movement (light). It might be said, ‘but is it not darker in the evening than in the afternoon?' Yes, but how does darkness equal an hour of the day? And how does it all have to do with time?
These differences speak nothing of time in formal terms. The differences in one frame from another do not make a qualitative distinction. Thus, there exists no nostalgia for a previous time or a latent desire to escape the present. Instead, they document time along a line that in itself has no end or beginning—no anteriority.
The digital photo-transparencies describe the wall by the frame of part of a structure that arranges it by reasoning that hour 2 comes after hour 1 and immediately facing hour one on the other side is the present.
Does framing the wall say something by simultaneously excluding a content exterior to the frame? Are the frames saying nothing? Yes and no. To arrange time: to divide it along an axis (saying something) says nothing essential about time. It presupposes a division of the past from the present. Yet, since the present has no anteriority, the representations of the wall are themselves a presentation of the infinite permutations one might trace from a singular subject: time.
Photo-transparencies representing the wall encoded with inks arrange on the surface of translucent plastic. Their compositions determine by what hour of the day each frame was taken. This division says nothing of time as it becomes subject to chance by the impossibility of making a qualitative distinction from one hour of the day to the next in terms of its origins in material.
arrangement of twenty four frames including zero uses eye-hooks, string, wire hangers, pencil, tape and digital photo-transparencies with minimal production meant to discard decoration. The production reveals a process. The material used for arrangement of twenty four frames including zero does not sublimate its function.
arrangement of twenty four frames including zero shows that what constitutes the past must derive from the present constitution of the subject which ever changes upon an axis. arrangement of twenty four frames including zero speaks nothing of time while being about time. The logic by which we measure time comes into focus by showing time as formless, nothing and a matter of non-logic. arrangement of twenty four frames including zero critiques structures (State, multination firms and corporations) that formalize it by way of capital by refusing to qualify time.
|arrangement of twenty four frames including zero
Masking tape, digital photo transparencies, wire hangers (from dry cleaners), wall, string