Unsettling Time

as part of The Wrong 2019

an embassy and pavilion curated by alejandro t. acierto




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Drawing upon recent scholarship within Indigenous, postcolonial, queer, and new media studies, this Pavilion seeks to present the work of artists and cultural producers that push new theoretical formations, assemblages, and conceptualizations of time and temporalities that draw upon the archives of networked society. Open to various types of creative practice, this exhibition (IRL and URL) continues conversations that articulate, propose, complicate, and unsettle how visual archives and collected media shift the ways we understand time, where a multiplicity of temporal identifications can exist simultaneously. Artists invested in decolonizing chrononormative constructs (ie, linear time) are invited to submit new or existing projects as part of this exhibition.

As artists and cultural producers that navigate the multiple rhythmic pulsations of aesthetic traditions within and through time, the pacing of network culture enables a temporal displacement that is able to reconfigure the conditions of how visual culture and media is experienced and felt. With the ability to access incalculable amounts of images via the Internet through online databases, Google-searches, and sub-Reddits – as well as real-time generated images that often operate as memes through social media sites – our sensibility to discern what was “then” begins to melt into a sensibility of “now”. Similarly, processes of photogrammetry and newly devised AI image analysis software also shift how and when visual images are made, collapsing and complicating how images operate in the constantly changing present. Within this post-Internet moment where collections and archives are presented and articulated through installations, 3d-modeled digital objects, layered paintings, PDFs, digital photographs, or searchable databases (among several other deployments), how do these creative and critical impulses shift how we understand time? Can these conflated moments reflect variations of temporal multiplicity? And how might these new positionings disrupt settler colonial conceptions of time and make room for global Indigenous frameworks and analyses?