Tag Archives : Living Time

Recap: Living Time: Art and Life After ‘Art-Into-Life’

On February 20 and 21, the Arts Research Center was delighted to welcome over 200 attendees to the UC Berkeley Art Museum and Pacific Film Archive Gund Theater as our ARC community debated and discussed the connections surrounding and between the boundaries separating “art” and “life.” We were equally delighted to host 15 celebrated international, national and Bay Area artists, curators, and scholars from a variety of art fields who presented on historical and contemporary, visual and performance based iterations of the distinctly 20th century cultural phenomenon of ‘art-into-life’.

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Living Time: Art and Life After ‘Art-Into-Life’: Andre Lepecki

My aim is to investigate how the works and writings of Hélio Oiticia and Lygia Clark re-articulate the problem of temporality and the problem of “life.” I am proposing that there is both a rigor and a novelty in their definitions of both terms, one that bypasses accepted notions that the privileged temporality of performance and dance is the ephemeral, and that the life element in performance and dance is the living presence of bodies in participation.

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Living Time: Art and Life After ‘Art-Into-Life’: Karin Sanders

At Living Time, I want to contemplate recent questions raised by museum theorists about permanency and the perils of musealization by considering the use of a particular and rather mundane substance: ice. How does this transient material function in the form of sculpture? Can institutional walls regulate the fickleness of Ice Art? Can Ice Art be placed somewhere between museumphobia and museumania?

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Living Time: Art and Life After ‘Art-Into-Life’: Bojana Cvejic

The point of departure are a few problems – conditions and terms, as well – that surface in the accounts of the experimental praxis in performance and visual arts in former Yugoslavia. Parallelism describes a peculiarly intensive engagement of theoretical discourses and art praxis among artists, cultural workers, theorists, and “editors”, a swift sloping ride that underlines parallel connections between the conceptual imagination of artists and the critical insight into history as the agency of the political unconscious; a kind of thought that arises from within, or close to, artistic practice, yet doesn’t keep its self-referential autonomy, but in turn becomes an instrument of looking past art, learning how to look through and from art rather than learning how to create art.

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Living Time: Art and Life After ‘Art-Into-Life’: Knut Ove Arntzen

In my contribution I want to point out some views on arctic conditions for the arts, a perspective which I later has expanded on by using the term of non-orientable surface, a term or philosophical concept coined by the Polish architect and philosopher Lech Tomaszweski, that can be used to describe the arctic as an ice desert with non orientable surface,as can be compared to the sea understood as seascapes.

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Living Time: Art and Life After ‘Art-Into-Life’: Claudia Calirman

I would argue that the most interesting artistic practices coming out of Latin America today dealing with the interplay of art and life address harsh aspects of reality by reenacting and even exaggerating them. The artistic outcomes can reasonably be labeled perverse, as they, in many instances, cross the line between what is acceptable and what is intolerable.

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