By Amelia Barikin
During the last twenty years, French artist Pierre Huyghe has produced an extraordinarybody of labor in consistent discussion with temporality. Investigating the potential for a hypotheticalmode of timekeeping--"parallel presents"-- Huyghe has researched the structure of theincomplete, directed a puppet opera, based a brief institution, confirmed a pirate televisionstation, staged celebrations, scripted eventualities, and journeyed to Antarctica looking for amythological penguin. during this first book-length paintings ancient exam of Huyghe and his work,Amelia Barikin lines the artist's continuous negotiation with the time codes of contemporarysociety. delivering certain analyses of Huyghe's works and drawing on large interviews withHuyghe and his affiliates, Barikin reveals in Huyghe's tasks an alternative state of mind abouthistory--a "topological historicity" that deprograms (or reprograms) temporal formats.Huyghe as soon as acknowledged, "It is thru the montage, the way in which we mix and relate photos, that we cancreate a illustration of an occasion that's might be extra certain than the development itself."Barikinoffers pioneering analyses of Huyghe's lesser-known early works in addition to sustained readings oflater, significantly acclaimed tasks, together with No Ghost only a Shell (2000),L'Expédition scintillante (2002), and A trip That Wasn't(2005). She emphasizes Huyghe's strategies of "freed time" and "the openpresent," during which something may perhaps ensue. Bringing jointly an eclectic array of topics andcharacters--from moon jogging to situationist practices, from Snow White to Gilles Deleuze--Parallel offers bargains a hugely unique account of the using forces behindHuyghe's paintings
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Extra info for Parallel Presents: The Art of Pierre Huyghe
Example text
Rather than conceiving of the subjects of transcription as within the memory cone of the letter writer, Huyghe instead saw the potential for a secondary cone to join the first. This conjunction can be pictured in two ways. The cones might overlap at the tip, forming a kind of inverse diagonal structure. At the apex of each would be a different “present” that, because it is part of the cone, is also always part of the past. The fragments of the past that “fall” toward the present (from both ends of the cones) then have the potential to carry the elements of another past into a different present.
The figures pictured on the billboard appear more theatrical than their counterparts on the ground below: the foreman is reading from a piece of paper, one arm extended as if parodying a dramatic monologue. The rest of the cast, blocked evenly in the foreground as if members of a Greek chorus, brandish their tools like props. When the “real” workmen returned to the construction site the following Monday, the performance of their profession was clearly visible above them. The desired effect on the public was to confuse the identities of the workers and performers—and to all accounts, the results were successful.
It is in this way that representations can become prompts for future activity, while images can enter into and effect reality. ” François Roche, 19951 It is possible today to buy houses from a catalog, newly built and newly furnished, with stainless steel appliances throughout and a lawnmower in the garage. From the moment of purchase, clients set their clocks to the ticking of mortgage payments, monthly installments. and the rate of interest. Time is regulated by capital, segregated from the passage of historical or biological evolution.