The exhibition sets out to consider viewing
time, the viewer's time.
It features relatively few works; the walls remain largely bare,
and much of the exhibition space empty. The intention is to transform
the gallery into a viewing laboratory, in the hope of generating
conditions for contemplation of the way in which we conduct ourselves
vis-?-vis art, and our conditionings as art viewers: How long do
we stand before a painting (oil on canvas, overflowing with layers
of paint, or alternatively-a mural consisting of only two lines)?
How do we watch a video piece? What type of attention does a large-scale,
highly-nuanced photograph demand? How do we observe/read a painting
comprised largely of text? And what about the wall text itself,
the text accompanying the exhibition, which mediates or sheds light
on it-at what point do we lose patience, and hurry to the bottom
line, to locate the conclusion?
The exhibition welcomes embarrassment; or,
in fact, reflections about the perplexity due to an all-too hasty
stop in front of a work, or due to calculations such as "how
long it took the artist to make," and the place that such (heretical?)
thoughts occupy in our artistic judgment. Reflections about the
viewing duration as a factor (yes-or-no) in our appreciation of
a work of art, and moreover-the relation between the (approximate,
estimated) execution time of an art work and its viewing time. Ostensibly-marginal
reflections, secondary to the work of art itself; or are they really
The exhibition features works by several
artists of different generations, who work in diverse media, challenging
the viewer's attention, gaze, and time, each in his/her own way.
Paintings, photographs, video pieces, sculpture, as well as texts
on the wall.
It is your time, the viewing time.