Realtime
The Art of Slowness
09 Jun - 04 Sep 2016
Bettina Pousttchi, Seoul Time, 2012, Sammlung Wemhöner, Courtesy: die Künstlerin und Buchmann Galerie Berlin
REALTIME
The Art of Slowness
9 June - 4 September 2016
With the exhibition “HEIMsuchung – Uncanny Spaces in Contemporary Art” (2013) Kunstmuseum Bonn examined how art interprets space as an existential coordinate of our existence. In its upcoming exhibition “RealTIME” the museum proves this substantial and existence-forming significance also for the experience of time on the basis of works by more than 30 international artists.
“RealTIME” addresses the paradoxical tension between time and temporality, between time's claim to normative status and its divergent experience by human beings. The exhibition brings to the fore an aesthetic reading which makes clear how repetition as well as the standstill or expansion of time―aspects that tend to be evaluated in a social context as problematic or even negative―can unfold a productive force. In a world that is increasingly shaped by the acceleration of the technical and social systems, the exhibition searches for concepts of slowness and offers on the basis of aesthetic manifestations – in which time is dissected, dismembered, repeated and brought to a standstill – counterproposals to a temporal presence apparently based on nothing other than breathlessness.
The Art of Slowness
9 June - 4 September 2016
With the exhibition “HEIMsuchung – Uncanny Spaces in Contemporary Art” (2013) Kunstmuseum Bonn examined how art interprets space as an existential coordinate of our existence. In its upcoming exhibition “RealTIME” the museum proves this substantial and existence-forming significance also for the experience of time on the basis of works by more than 30 international artists.
“RealTIME” addresses the paradoxical tension between time and temporality, between time's claim to normative status and its divergent experience by human beings. The exhibition brings to the fore an aesthetic reading which makes clear how repetition as well as the standstill or expansion of time―aspects that tend to be evaluated in a social context as problematic or even negative―can unfold a productive force. In a world that is increasingly shaped by the acceleration of the technical and social systems, the exhibition searches for concepts of slowness and offers on the basis of aesthetic manifestations – in which time is dissected, dismembered, repeated and brought to a standstill – counterproposals to a temporal presence apparently based on nothing other than breathlessness.