A Strict Adherence to Time (Even if Faked)

Institute of Contemporary Art - London
19 June - 16 September 2012

To hear this piece, visit SoundWorks.

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A Strict Adherence to Time (Even if Faked) is a sound work that takes the maximum time allotted for each artist in the SOUNDWORKS group exhibition (20:00), submitted on the deadline (May 17, 2012), which considers two events of the everyday and forces them into an artificial temporal coherence.

A recording of coffee brewing, originally 9:53 in length, and a 60:00 minute recording of the inner electronic workings of a laptop computer during the same morning are stretched, in the former, and condensed, in the latter, to occupy a 20 minute sound work.

The microscopic violence of the two scenarios revealing human desire is released. The actions of heat, electrons, voltage, steam, compression, information flows, data transfer, coffee plantations, international shipping consortiums, hydroelectric dams and server farms confirm the coordinated universal time behind these miniscule actions connected to larger realities.

From the ICA website:

As part of our season on sound, this exhibition presents one hundred new sound commissions produced by artists from all over the world. Selected by our curators and art institutions worldwide, the artists have been invited to submit a sound file, taking its stimulus from the themes evoked in Bruce Nauman’s Days, which will be presented in the lower gallery during the exhibition.

Soundworks embraces the ephemeral nature of sound, creating an online platform that doubles as a virtual exhibition space. The online presentation aims to make the works internationally accessible, a site to explore the genre as a medium which is simultaneously inclusive, interactive, and subversive.The exhibition includes a wide range of audible approaches by artists who have been working with the medium for many years, as well as artists taking their first venture into the sonic arts.

Participating UK institutions include Arnolfini, Baltic, Henry Moore Institute, Modern Art Oxford, Nottingham Contemporary, Tramway and the Wysing Arts Centre. International institutions include Beirut Art Center, Lebanon, Kadist Art Foundation, France, Kunstverein Amsterdam, Louisiana, Denmark, Museum of Contemporary Art in Montreal, Canada, Niterói Contemporary Art Museum, Rio de Niterói, Brazil, SALT, Turkey, SFMOMA, and White Columns, New York.

Thank you to the Claudine and Stephen Bronfman Fellowship in Contemporary Art, Mark Lanctôt and Marie Fraser at the Musée d'art contemporain de Montréal.