A RECESS FROM TEMPORALITY - by Viola Middleton

“To make a mark is to enter into time, but which time is that, since all time occurs simultaneously?”[1]

In Western conceptual thought, temporal order assumes linearity. This assumption refers to the arrangement of the past to present as moving in a singular direction through time. Mapped against the temporal scale, history becomes a designated sequence in which ambiguity, and the reverberation of the past into the contemporary, is largely ignored. Establishing distance between moments, objects and environments, as gridded against this quantitative projection of time, solidifies the assumption of advancement in progress. The certainty of linear time interplays with many Western ideologies, (e.g Marxism, Capitalism), driving social policy by interpreting time as pressing towards improvement. Linear time becomes commodified, a measure of efficiency based on this core principle of progression. The contemporary becomes most certainly an upgrade. The past becomes a relic on which we can base comparison and take pleasure in betterment. A distinct symptom of this assumption is the creation of a value system that marks progression from past ‘primitivity’, while critiquing repetition, stasis and enforcing the notion of irreversibility in the chronological timeline.[2] However, new perspectives are unveiled when we disregard the distance implemented by this lens.

“Periods based on chronology alone are empty vessels, in which many times and many ages roll back and forth in contrast to periods with an individuality of their own”[3/4]

By considering temporal history outside the ability to merely inform on the past, an opportunity of communication comes to light; gifting history the power to reveal relevance, meanings and acknowledge recurrences.[5] The potential to encourage communication across temporal space is increasingly simplified within the digital landscape. The internet and its multimodality is built upon the intent to foster connection; manufacturing attempts to link together that which is temporally separated.[6] History can be presented and reevaluated beyond the information of text. The perseverance of linear chronology will continue to struggle in contemporary cultural analysis. Its sole intention of signifying progress falling flat against our ability to gorge ourselves on the total, concurrent digitalisation of history. The saturation of knowledge we ingest is constantly informing how we perceive history. This is effected by our simultaneous ability to absorb input and output, and to access and consume digital information that transgresses the duration of time.[7] Contemporary perspectives of history can no longer be based on and limited to spatiotemporal dimensions. Instead, consider an approach that encourages engagement between historic and contemporary practice; between moments, materiality and people.

The contents of Recess are a testament to this intention, fostering communication and connection between present and past conditions. The materials and messages of the works themselves promote a relationship to the ancient, that is projected into the contemporary. The artists disrupt the rigidity of linear order through suspending themselves, and their work, in two spaces of timelessness; the cave and the digital sphere.Both spaces; a womb that is temporally separate to but also concurrently existing with physical reality. Mark-making that engages with these spaces struggles to be neatly placed within linear chronology. The work of Leili and Rachel grapples with existing in this third place.

Recess tauntingly plays upon the stage of temporality; a hybrid fusion of ancient and contemporary practice. The work allows one to challenge their engagement and critical thought in relation to linear hegemony through Western subscriptions. As temporal order continues to prioritize succession, nurturing sequences of replacement, allow Recess to provide suspension and foster resonance.

References:

[1]Recess Exhibition text

[2] Tanaka, Stefan. History without Chronology. Lever Press, 2019. https://doi.org/10.3998/mpub.11418981.

[3] Glamann, Kristof. The linear time model in history. European Review, 2001. 9. 3-10.
[4].1017/S1062798701000011.

[5]Tanaka, Stefan. History without Chronology. Lever Press, 2019. https://doi.org/10.3998/mpub.11418981.

[6]Siegfried Zielinski. 2009. Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means. Cambridge, Mass: Mit Pr.

[7]http://idyrself.com