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.
L'articolo presenta il testo dell'intervento tenuto nel corso della XVI Conferenza triennale dell'International Society for the Study of Time (University of Edinburgh, 26 giugno - 2 luglio 2016) e concerne i risultati delle ricerche condotte per la realizzazione della mostra "Dall'oggi al domani. 24 ore nell'arte contemporanea", ideata e co-curata dall'autrice dell'articolo presso il Museo Macro di Roma (aprile-ottobre 2016).
"24 Hours in Contemporary Art: Reflections on an Exhibition About Time" / Sbrilli, Antonella. - In: KRONOSCOPE. - ISSN 1567-715X. - STAMPA. - 2:(2017), pp. 209-230.
"24 Hours in Contemporary Art: Reflections on an Exhibition About Time"
SBRILLI, Antonella
2017
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.| File | Dimensione | Formato | |
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Sbrilli_24 Hours-in_ 2017.pdf
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