Time Farm (Abraham Adams, Lou Cantor, and Alexandra Pirici) is a research group dedicated to cultivating temporal inquiry. The evening is a platform to deepen the group’s interest in the nuances, difficulties, and wonders of human communication through language. With techniques that look beyond historiographic time out of joint, Time Farm’s parapoetics seek out temporal dogmas in the conduct of meaning: Husserl’s inscription of discursive sequence at the basis of experience; the fantasy eternal theorized by Félix Guattari; fears of transtemporalism observed by Rita Felski.
Abraham Adams will perform “Concrete Séance,” a third installment of his series, which the Poetry Foundation reports to be a “return to sortilèges.”
Lou Cantor’s presentation will sketch a map of the main trajectories their work follows in relation to the changing context and ever-developing audience perception. Their lecture performance “We are not Asleep” pays tribute to the work of Krzysztof Niemczyk and aims to form questions that answer the contemporary reality of overproduction in under time.
Alexandra Pirici will give a short overview of her artistic practice in relation to general topics of interest such as time and temporality, embodied and disembodied media, the materiality of the enactment or embodiment as strategy, the second performative turn in the visual arts and its relation to the experience/event economy. As a shared experience conjured in one room and simultaneously across thousands of miles, the group continues its investigations into artistic formats that create human connection.
The evening will be introduced by David Joselit, Distinguished Professor in the Ph.D. Program in Art History, The Graduate Center, CUNY.
This event is presented as part of Social Choreography, an interdisciplinary research group devoted to intersections between art movements and social movements. The group is supported by the Mellon Seminar on Public Engagement and Collaborative Research. For more information or to join, email [email protected].
Cosponsored by the PhD Program in Art History and Social Choreography Mellon Seminar in Public Engagement and Collaborative Research.
