Tempo : [Brochure] Texts I, II, and V by Roxana Marcoci, III and IV by Miriam Basilio]

Tempo : [brochure] Texts I, II, and V by Roxana Marcoci, III and IV by Miriam Basilio]

Date 2002

Exhibition URL www.moma.org/calendar/exhibitions/154

The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists.

TempoJune29-September 9,2002

This exhibition Focuseson distinct perceptions of time—phenomenological,

empirical,political, and Fictional—in the work oFcontemporaryartists FromAFrica,

the Americas,Asia, and Europe.The show is organizedinto Fiveareas oFmulti

mediainstallations that examinecultural diFFerencesin the constructionoFtime.

In the First area, Time Collapsed,the systemic interfaces with the randomin a

cacophonyoF clocks, watches, and metronomes.Transgressive Bodies, the second

area,probes the metabolicprocesses and erotic drives exercisedby the body.The

Louise Bourgeois. Untitled. 2002. Ink and pencil on ). physicalworld involvesa senseoF evolution, , butalso imnermanence [jcMiiaMciiLC OIIUand entrnnv CI II I up y , music paper J 1V(x g„ (29g x gg.g cm Collection the artist; courtesy Cheim and Read, New York

LiquidTime explores this ever-changingFlow oF time through imagesoF water in a third section.Trans-Histories, the Fourth

area, addressesissues oFpostcolonialism, thus engagingthe viewer's critical perceptionoF the present through memory.

Althoughseemingly static, the video and sculptural pieces in the Fifth area, Mobility/ Immobility, are in constant motion,

destabilizingthe viewers perceptionoFtime; aspects oF circularity, unendingduration, andtime arrested are experiencedin

a this last section. time collapsed

Thequest for freedomis frequently a alternative, morefluid and entrepreneurial, circuit the imageof standardtime. In this responseto the necessitiesof today's lifestyles designedto offer greater individ case,the plurality of times registered society, calledthe "risk society" by German ual freedomfrom canonicaltime structures. reflects the owner'sown needs.Each clock sociologist Ulrich Beck,in which social \r\A-ZTimeTrials of 1999,Andrea Zittel performsspecific tasks: onemeasures a institutions oncethought to insure our manipulatesthe constructof time, from pre wholeweek; another, three daysand a two- safety also exerciseexcessive power over determinationto free will, in an attempt to day weekend;yet another,three weeksand a our time. Ratherthan unequivocally distendthe scopeof deep-rootedbehavioral one-weekvacation. Similarly, Alighiero e conformingto traditional social norms, patterns. Fiveoctagonal clocks sport Boetti's Watchesof 1977-94comprises six contemporaryindividuals opt insteadfor customizednumerical systems that short- teen wristwatchesthat measuretime in

,s/ib3/b" Andrea Zittel. A-Z Time Trials (detail). 1999. Five clocks, wood and steel frames, clockworks, and electric motor, each 26 x 29 x 2 (66 x 76 x 6 cm). Collection Burton S. Minkoff, Miami; courtesy Andrea Rosen Gallery, New York AAAAAAAAAAAAAAAAAAiA4 4AU

units oFconsecutive years rather than of that any standard is not the truest unit oF constructionoFtime. In FontesoF 1992, seconds.As in the anecdoteabout a person measure,but the most convenient.In other madeup oFFour clocks with misplacedas askingFor directions being pointed simulta words, a standardconstitutes a relative well as missingnumbers, Cildo Meireles neouslyto the right andto the leFt,Peter model,and is the result oFconventions that questionsthe logic oFFixed time-space Regli'spaired clocks in RealityHacking #147 may appearto be empiricalbut are in Fact coordinates.Something similar happensin oF1998 run in synch—oneForward and the suppositionsthat scientists treat as cate KlausRinke's installation Albert Einstein! other backward. gorical deFinitions. WhenDoes Baden-Baden Stop at ThisTrain? Althoughchallenging scientiFic postu Thenotion oFrelativity is essentialin oF1989-90. ConsistingoF a double-Faced lates, the guestionremains as to whether examiningexperiential diFFerences in the 1930srailway clockmounted on actualmetal suchexperiments oFFer a suFFicientmargin rails, the work and its nonsensicaltitle reFer oFFreedom From canonical time structures, to Einstein'sslip oFthe tonguewhen making sinceeventually they becomethe actual an inquiry during oneoF his trips. In Work groundFor new standards.This was pointed No. 18S.thirty-nine metronomesbeating out by the Frenchmathematician and physi cist HenriJules Poincare in his bookScience and Hypothesis(1902), where he explained t 1

Cildo Meireles. Fontes (detail). 1992. Four clocks, each s/i" 8 (22 cm) diam. Courtesy the artist, Rio de Janeiro Martin Creed. Work No. 189. thirty-nine metronomes beating time, one at every speed. 1988. 39 mechanical Malzel metronomes, each 9 x 4 7i x 47z" (23 x 11.5 x 11.5 cm). Private collection; courtesy Gavin Brown's enterprise, Corp., New York AAAAAAA44AA1kAAAA

time, oneat every speedoF 1998, Martin hammers.Vilmouth presentsa diagram delaying,and controlling the consumer's [reed exploresthe relation oFsystemic and oFtime and labor basedon increasedpro senseoFFulFillment and expectation,or randomtemporalities. The artist hascraFted ductivity as against idle, empty time that conversely,by anticipating, rushing,and an arrangementoF thirty-nine mechanical needsto be "killed." As the Frenchsociolo taking the consumerby surprise.Thus, wind-up metronomes,each adjusted to play gist Pierre Bourdieuhas shown,the link within the system oFlabor, temporal power at oneoF the metronome'sthirty-nine speeds, betweentime and power is evincedby the can be seento measureindividual aspira and eachunwinding at a distinct time. Music capitalist tactics oFadjourning, deFerring, tions and expectations. is thus impliedthrough rhythm, beat, swing, Jean-Luc Vilmouth. Local Time (detail). 1987-89. 100 wall clocks and 100 hammers, each clock: 25" (53.5 cm) diam.; each hammer: lEVix SVlx l'/is" (31.5x 14 x 3 cm). Collection Caisse des depots et consignations, Mission Mecenat; on a certainto andFro, and pause. Yet, at the same deposit at Musee d'art moderne, Saint-Etienne time, the metronomes'concerted cacophony collapsesthe devices'structuring order. Jean-LucVilmouth's tongue-in-cheek motiFoF one hundredpairs oFclocks and * 12/ ' hammersin his mural-scaleinstallation LocalTime oF 1987-89 addresses the poli tics oFtime.This piecealludes on the one handto the Utopianagenda oF revolution ary Soviet society, with its Five-year plans, and on the other to capitalism'searly modernmachines and large-scalemass production.Both systems demonstratethe notion oFmechanistic eFFiciency, aligning art with progress.SigniFicantly, the French word augmenter,meaning "to increase," is printed in red on eachoFthe one hundred transgressive bodies

Erwin Wurm. One Minute Sculpture. 1997. C-print, 17"/ibx 11 "At" (45 x 30 cm). Courtesy the artist and Art : Concept, Paris

of unconsciousdrives, DouglasGordon addressesthe succinctand abrupt interval betweenliving and dying. His installation 30 SecondsText oF 1996 consists oFa dark enedroom Furnishedon one wall with an accountoF an experimentperFormed in 1905by a Frenchdoctor, who attemptedto communicatewith the severedhead oF a guillotined criminal, and a lightbulb set on a timer that goeson and oFFevery thirty seconds.The experiment,which soughtto FindprooF oF consciousness aFter death, Thetemporal ideasoF clock makers and artist sitting nakedin an empty room, sur empiricalscientists are Cartesiancon roundedby oranges,limes, and croissants. structs that measurereality into exact Shegazes at the camera,opens her mouth, units. Oneway to circumventthis view is to and the lens zoomsin. An instant later, the rethink the agencyoF the body by consider imagezooms out Fromher dilating rectum. ing the antinomiesbetween strict biologi This playFulback-and-Forth passage From cal time and the body'slibidinal experience mouthto anus is intendedto mark erotic oFduration. Pipilotti Rist capturesthe pursuits as well as the metabolicdesire to undertowoFbodily drives in her video consumeand expel.

installation Mutaflor oF1996. Projected While Rist'svideo installations exudea Pipilotti Rist. Still from Mutaflor. 19S6.Video installa tion, dimensions variable. Courtesy Luhring Augustine, 6 directly onto the Floor,the imageshows the Fascinationwith the unboundcyclical time New York, and Galerie Hauser &Wirth, Zurich Damien Hirst. Liar. 1989. Drug packaging and cabinet, 94 x 4Dx 9" [137x 10Zx 22 cm). Courtesy The Brant Foundation, Greenwich, Connecticut >- "-= Matthew Barney. Pace Car for the Hubris Pill. 1991. Internally lubricated plastic, Teflon fabric, cast glucose capsule, and cast sucrose wedge, 53'A" x B'4Vz"x 48" (135.2x 194.3x 121.9 cm). The Museum of Modern Art, New York. Acquired from Werner and Elaine Dannheisser whichunorthodox action and the structureof time form the work.Also probing behavioral patternsin Westernconsumerist society, specifically,the desirefor immortality, DamienHirst's drug cabinets include stimu lants,sedatives, antidepressants, and vita lasted betweentwenty-five and thirty sec minsthat canalter, save, or prolonglife and that canstretch physical limits. onds. Connectingthe sensationof the V - , beheadedbody of the criminal to the sen MatthewBarney shares with Hirst the sation of the reader of the text, Gordon desireto escapefrom any form of temporal, equatesthe interval betweenlife and death spatial, social, behavioral,or sexualcon with the time it takes a personto read the straint, and moreover,from the Freudian notes on the experiment. contentionthat biology is destiny. Barney In his performanceseries titled OneMinute treats the body as a malleable,structurally Sculptures,begun in 1997,Erwin Wurm chal modifiablefield that canbe turned inside lengesbehavioral norms, sixty secondsat a out and workedupon to transgressits own time. Eachof his time-basedsculptures con limits. Interlockingthe experiencesof ath sists of an instructionthat cantake the form letic training andtechnological streamlining of a drawing—often with a list of the items with the psychologyof self-imposeddisci involved,or with a written proposition,such pline, Barneypresents the body as a force as "Holdyour breathand think of Spinoza." without form but of infinite possibilities. Antoni'sartistic productionis comparable Instructingthe publicon howto lie on His photographicand sculpturalworks make to Barney'sinsofar as both artists explore orangeswithout touchingthe ground,or on referenceto athletics and fashion,two the body'slimits and pushit to physical howto hold pencilsin their nostrils, the disciplinesthat promotethe imageof the extremes.But Weanof 1990,which Antoni artist createsexperimental situations in redesignedbody. describesas her first "breakthroughin J§" # #

Janine Antoni. Wean. 1990.Plaster, 12 x 38 x 2" (30.Sx 96.5 x S.l cm). Collection Craig Robins; courtesy Luhring Augustine, New York

thinkingabout the body,"is not so much FormsoF the artist's breast,her nipple,three nurturing pleasurein suckingto the oral aboutthe bodyper se as aboutbodily latex nipplesused For baby bottles, and poweroF speech, signiFying the entry into absence.It is, First,about the stagesof sep Finallythe moldedpackaging From the latex society.For Antoni then, the body becomes aration Fromthe maternalbody and, second, nipples.The sequencing From natural to arti- an instrumentthat canregister time, From aboutthe distancingFrom one's own bodyas FicialForm, or to a prostheticsurrogate, Fol early preoedipalstages oF psychic develop oneenters the cultural world. Weanconsists lows the coursethrough which substitution ment,dependent on oral drives,to the wean a oFa seriesoF negative imprints in a wall: takesplace, From oral desireand the inFant's ing into culture. Ill

BodiesoF water, regardedin manycultures imagesare close-uprenderings oF undistin "My gazealights on the water... I Feeltime as natural metaphorsFor the passageoF guishedsections oF the Thames,so that iFnot stop. It isn't a momentoF indecision. I don't time, are representedhere in works that Forthe title they couldbe imagesoF any body want to jump. I just want to watch." engageviewers' temporal,visual, and oFwater. At the marginsoFeach print are Therole oFthe viewer is also an integral spatial perceptions.Executed in various Footnotesthat questionvisual perception part oFFelix Gonzalez-Torres'sUntitled oF mediums,the works guestion artistic hier andmetaphorical constructs, or that allude 1991,a transient work consistingoF paper archiesand disrupt totalizing narratives. In to unidentiFiedindividuals' perceptions sheets,printed with a blackand white Kim Sooja'svideo A Laundry WomanoF oFwater as a site oFdanger and absence: imageoF water, that are steadily replaced 2000,the artist stands still in FrontoF the Yamunariver in Delhi, India. SeenFrom the back,she Facesthe Flowingriver, as by productsFrom a crematoriumFloat past and birds Flyoverhead. The image,projected liFe-sizeon to a wall in a darkenedroom, placesthe viewer in the position oFboth observerand participant, as the artist's vantagepoint becomesthe viewer's own. Kim'svideo suggeststhe tension between the notion oFwater as a universal symbol oFthe passageoF time and culturally spe- ciFictemporal perspectives. In the seriesoF photographs Still Water [TheRiver Thames,for Example]oF 1909, RoniHorn similarly exploressubjective Kim Sooja. A Laundry Woman. 2000. Single-channel video projection. Courtesy the artist and The Project, New York, experiencesoF nature and mortality. The Los Angeles Adriana Varejao. Tiles (Azulejoes). 2000. Plaster on canvas, painted in oil; site-specific installation, dimensions variable. Installation view at Centro Cultural Banco do Brasil, Rio de Janeiro, 2001. Courtesy the artist and Lehmann Maupin Gallery, New York/Galeria Fortes Vila$a, Sao Paulo

as viewers,by invitation, take them away. Thecirculation of the imagecounters tradi tional notions of the value of singularworks of art. Vija Celmins'sUntitled [Ocean]of 1970,one of a series of imagesof water, is renderedin infinitesimal points that call attention to the processof drawing.The image,which could be confusedwith a black-and-whitephotograph, suggests the tectural ornamentationFrom Brazil in her "tiles" incorporatingCatholic iconography play betweenmimetic representation and installation Tiles(Azulejoes] of 2000,a grid and NewWorld allegories of Americadis subjectiveperceptions of nature. of individualcanvases layered with plaster rupted by gessoforms emerging from the AdrianaVarejao draws upon Barogue archi- andpaint. In an earlierseries, Varejao created canvaseslike flayed flesh. In Tiles,the reper Roni Horn. Still toire of Europeandecorative motifs, religious Water (The River Thames, for iconography,and allegorical images of Example)—Image B. 1999.Offset naturethat wasbrought to BraziI by the lithograph (photograph and Portugueseand presented in Baroguearchi text combined) on uncoated paper, tectural settings, usually in the form of 30 7zx 41W (77.5x105.4 cm). paintedtiles forthe exteriors of buildings,is Courtesy the artist and similarly disrupted,as its conventionalvege Matthew Marks Gallery, New York tal andabstract motifs are fragmentedand rearranged.Curvilinear blue and white pat terns spantwo walls of canvases,creating a potentially infinite space.The grid of tiles engulfsthe viewer in a virtual oceancreated within the museumsetting. trans- IV histories

cM*ec betweenthe anachronisticformat andthe recognizablycontemporary person described, crnie and suggestingthe persistenceof racial categorizationlinked to the history of slav ery. Similarly, in her site-specific installa tion TheRich Soil DownThere of 2002,Kara Walkeremploys cut papersilhouettes—a format with anachronisticassociations—to ALLPERSONS ENTERING ' renderscenes depicting masters and slaves, ANDLEAVING THE The history oTthe African diasporaand how as a meansof underscoringthe psychologi FREEZONE it has influencedexperiences of labor and cal effects of the history of slavery for con ARESUBJECT TO BE leisure is presentedhere in works that temporary viewers. SEARCHED explore how our perceptionsof historic MarcLatamie's installation Casabagass events are shapedby recent technology. of 2002brings a shackhousing a sugarcane GlennLigon's print portfolio Runawaysof grinder into the museumcontext, empha 1993 is a series of contemporaryportraits sizing individual labor and consumption. that compriseimages and typography Part of Latamie'songoing investigation drawn from advertisementsin nineteenth- of the historic and economiccircuits through century newspaperscalling for the capture which the African slaves who processed of runawayslaves. Forthe portfolio, Ligon sugar crossedthe Atlantic, Casabagass commissionedwritten descriptionsof him reversesthe usual flow of sugar from self from friends, creatingjuxtapositions Caribbeancane fields to Wall Btreet's

Above: Marc Latamie. Casabagass. 2002. Installation with wood shack, sugarcane-juice machine, and video, dimensions variable. Commissioned by The Museum of Modern Art, New York; courtesy the artist Right: Fatimah Tuggar. Meditation on Vacation. 2002. DVDprojection/video collage, 4 min., 38 sec. Special commission by The Museum of Modern Art, New York; produced by Binta Zarah Studios, New York, and Art + Public, Geneva trading Floors,where it becomesan abstract and boredominto a sourceoF pleasure." corner,recalls coverageoF the war in commodity.Vik Muniz'sseries TheSugar Inigo Manglano-Ovalleand Nadine AFghanistan,in which state-oF-the-art ChildrenoF 1996 exploresthe mechanisms Robinsonexplore the events oFSeptember inFra-redcamera technology, used by the oFphotographic representation in portraits 11,2001, Focusing,respectively, on the mediaand the military sincethe GulFWar, oFsugar plantation workers' children, in perceptionsFostered by real-time technol encouragedtelevision viewers to havethe St. Kitts, the West Indies,rendered in sugar. ogy and on the experiencesoF immigrant impressionthat they were eyewitnessesto Thegrainy quality oFthe images,a visual and AFricanAmerican workers at the World breakingnews in real time. Thetechnologi pun on the dots that makeup newspaper TradeCenter. In Manglano-Ovalle'snight- cal, temporal,and perceptuallinks between and magazinephotographs, also recalls the vision-enhancedreal-time video projection the presentationoF media images as processoF developing an imageon photo unmediatedreality and the transFormation graphicpaper. In contrast to photojournal- oFpublic spacesinto sites oFsurveillance istic or anthropologicalconventions, which emergeas the viewer is drawntoward the render workersas types, the close-up immediacypromised by the projected appealingexpressions and anecdotaltitles image,while becominga part oFit. bring to light the particularity oFeach child's NadineRobinson examines the tension personality. betweenthe use-valueoF labor andthe lived Investigatingthe idea oFleisure time, experienceoF individual workers. Tower in which natives oFwealthy nations inter HollersoF 2002 is an installation consisting sect with those oF"developing" countries, oFa grid oF455 white canvaseswith speak FatimahTuggar's video Meditation on ers wired to recordplayers, and expands VacationoF2002 spans the typical Western uponan earlier versionthat was created Inigo Manglano-Ovalle. Nocturne (white poppies). E002. tourist's trajectory, Fromarrival to depar Night-vision-enhanced real-time video projection of during a residencyat the WorldTrade Center artificial opium poppies [papaver somniferum) with ture. Deployingmontage to explore dispar live audio. Commissioned by The Museum of Modem WorldViews program. Two records play at Art, New York; courtesy the artist and Max Protetch ities in the eFFectsoF globalization, Tuggar Gallery, New York once:a work holler, or tune sungby AFrican createsjuxtapositions betweenimages oF Nocturne(white poppies)oF 2002, a camera Americanprisoners, and a melodythat is Caribbeanvacation venues and local labor, equippedwith motion sensorsFilms artiFi- Familiarto anyonewho heardthe piped-in along with imagestaken in Nigeriantowns cial opiumpoppies. The viewer is incorpo "elevator music"at the TwinTowers, which, that underscorethe unevenFlow oF immi rated into the work through the processoF accordingto Robinson,belongs to the genre gration, labor, capital, and tourism. In an movingwithin the darkenedspace, and is oFmusic designed to increaseworker pro accompanyingvoiceover, the artist employs drawntoward the projected imageoF the ductivity. Thetwo songsevoke the labor oF both her own and appropriatedtexts. The Flower.The video, with its now-Familiar workers,and the grid oFspeaker paintings natives oFtourist locales,she says, "envy greenishhue oFa television screendissolv representsthe numberoF tenant Firmsat the 12your own ability to turn their own banality ing into pixels with the word LIVEin one WorldTrade Center. V mobility/ immobility

In the secondhalf of the twentieth century, the action unfolds is of suchextreme slow the OlympicTraining Center in Berlin, is modernism'scult of instantaneoustime nessthat it is futile to try to detect the paradoxicallyperceived to be immobile.In was replacedby more layered, often more incrementsby whichthe circle expands. this case,speed is convertedinto stasis. analytic, referencesto temporality that Durationabolishes the notion of time as Gordon'stlonument to X of 1998records a alludedto deceleration,immobility, unending change.Similarly, in AngelikaMiddendorf's long,passionate kiss madeepic by virtue of duration, and circularity. Watchinga Ceal video pieceOuter Space of 1999,a woman its length.Although edited down to fourteen Floyervideo, focusingon a DouglasGordon swimmingagainst a strong stream in the minutes,the footageof the kiss lasts four altered-speedprojection, looking at a Hiroshi high-techtraining pool of the Sportforum, teen hours.Gordon's idiosyncratic approach Bugimotophotograph, engaging in a Gabriel Orozcogame structure, or exploringa Tatsuo Miyajimalight-emitting diode installation requires a modified attentive state in which perceptionand memoryperform unequivo cally in the experienceof the work. Floyer'sInk on Paperof 1999, a video that seemsto stand still, is in fact a loop of interminableduration. The imageshows the artist's hand holding a markingpen against a white sheet of paper.Over the courseof one hour,the pen imperceptibly leaks its ink, leaving a perfect circular pool on the paper.Surprisingly, even though the ink is spilled out in real time, the paceat which

Ceal Floyer. Ink on Paper. 1999.Video, 1 hr. Courtesy the artist and Casey Kaplan, New York Gabriel Orozco. Horses Running Endlessly. 1995.Wood chess 3/b3/b" board and 128 knights, 3 x 34 x 34 (8.7 x 87.5 x 87.5 cm). The Museum of Modern Art, New York. Gift of Agnes Gund and Lewis B. Cullman in honor of Chess in the Schools

to time takes its cuefrom Orozco,an artist who AndyWarhol's films of the early has long ponderedthe 1960s,such as Sleep(which runs notion of duration in relation to 5 hours, 20 minutes),or Empire(8 hours, perception,has observed:"There could be 5 minutes).The viewer becomesfascinated somekind of resemblancebetween what with the minimal,infinitely slow shots in I'm doing andJohn Cage's recordings, but these works,and with the "eternity of the Cage'swork has so muchto do with chance, moment"in whichanything seldom happens. whereasI'm really focusingon concentra The photographer5ugimoto, although tion and intention." As a chessplayer, dealingwith the primary mediumfor Orozcooften refers to time-basedgames, recordingreality at a given point in time, yet invariably subverts their systemic also uses long exposuresto question the order. A casein point, his pieceWorses assumptionthat what gets recordedby the RunningEndlessly of 1995 takes its vocab camerais evena momentat all. In his pho ulary from the traditional chessgame, yet tographic series Interior Theatersand the deviant four-color board with 256 Drive-In Theatersof the 1990s,5ugimoto squares—instead of the usual 64—features left the aperture of the cameraopen for the only knights that moveacross sguares to duration of the film screening,resulting in makea series of circles amongthemselves. the erasureof the fast-moving image.What Theviewer is invited to enter an implausi remainsis just a luminouswhite screen. ble situation, lackinga defined set of rules, The deceleratedtemporality of 5ugimoto's that is calculatedto defer the game'slogi pictures proposesa modelof recording cal developmentwith eachmove. reality that probesthe conventionsof both A similar rationale is at work in 5teven cinemaand photography,by way of conju- Pippin'spunning installation TaxS3 of 14gating time as indefinite duration. 1999,in which two "desiring" fax machines A

\ Zhu Jia. Forever. 1994. DVBvideo, 27 min. loop. Courtesy the artist, Beijing

continuouslyfax eachother blank mes time. His CounterSpiral of 1998is a revolv sageson a single loop of paper.Similarly, ing, light-emitting diodestructure compris in his video pieceForever of 1994,Zhu Jia ing numberscounted forward and backward portrays the city of Beijing in a dizzying simultaneouslyfrom 1 to 99, but never spin of circular patterns by strapping a includingzero, whichwould indicatean end. camerato the rotating wheel of a bicycle. Thespeeds at whichthe numbersare chang Steven Pippin. Fax 69. 1999. ffice desk, two fax machines, Turningto the endlessdigital time of the ing vary, articulating the relative and indefi and polycarbonated plexiglass, dimensions computerage, Miyajima also explores nite characterof time. Temporalrelativity is variable. Courtesy the artist and Gavin Brown's enterprise, notions of looping,repetition, and cyclical suggestedhere within a single visual zone, is Corp., New York PUBLICATION

Paulo Herkenhoff, Roxana Marcoci, and Miriam Basilio

The concept of time has been discussed by philosophers throughout the ages. What does time signify? Is it a cultural construct? How does mobility/ immobility one represent it? Artists, especially, have addressed the experiential aspects of temporal perception. This catalogue, which accompanies the first temporary exhibition at MoMAQNS, features works by forty- five contemporary artists from five continents. Conceived as a lexicon, the texts explore distinct ideas and terms relating to time, and a full- color plate section includes multimedia work by such diverse artists as Janine Antoni, Matthew Barney, Louise Bourgeois, Vija Celmins, Felix Gonzalez-Torres, Douglas Gordon, David Hammons, Damien Hirst, Roni Horn, Kim Sooja, Guillermo Kuitca, Inigo Manglano-Ovalle, Vik Muniz, Gabriel Orozco, Paul Pfeiffer, Charles Ray, Pipilotti Rist, Fatimah Tuggar, Adriana Varejao, Kara Walker, Erwin Wurm, and Andrea Zittel, among others. 8.7 X 10"; 80 PAGES;85 COLORILLUSTRATIONS G86. PAPERBACK.$12.95, MEMBERS$11.85

Tempowas organized by PauloHerkenhoff, Adjunct Curator, with the PHOTO CREDITS Courtesy Gagosian Gallery, New York, and Lisson assistanceof RoxanaMarcoci and MiriamBasilio, Department of Gallery, London Christopher Burke Paintingand Sculpture. Courtesy Andrea Rosen Gallery, New York Bottom: Wilton Montenegro Brochuretexts I, II, andV are by RoxanaMarcoci; ill and IV are by Courtesy Gavin Brown's enterprise, Corp., New York Courtesy Musee d'art moderne, Saint-Etienne MiriamBasilio. Top left: Courtesy Erwin Wurm Bottom right: Pipilotti Rist, courtesy Luhring This exhibition is supportedby Philip MorrisCompanies Inc. Augustine, New York, and Galerie Hauser &Wirth, Zurich Top left: Courtesy The Brant Foundation Generousfunding is also providedby TheInternational Council of Right: 0 2002 Matthew Barney TheMuseum of ModernArt. Courtesy Janine Antoni and Luhring Augustine, New York Monica Nerula, courtesy The Project, New York, Los TheMuseum gratefully acknowledgesgifts from GeorgeDavid and Angeles MamieS. Pillsbury in honorof AgnesGund. Top: Vicente de Mello Bottom: Courtesy Roni Horn and Matthew Marks Gallery, New York Additionalassistance is providedby AgnesGund and DanielShapiro Left: Courtesy Marc Latamie, Artists Rights Society andThe Contemporary Arts Councilof TheMuseum of ModernArt. (ARS),New York Right: Courtesy Binta Zarah Studios, New York, and Art + Public, Geneva Theaccompanying educational programs are madepossible by BNP Courtesy Ihigo Manglano-Ovalle Courtesy Ceal Floyer and Casey Kaplan, New York Paribas. Courtesy Gabriel Orozco and Marian Goodman Gallery, New York LCDmonitor, plasma displays, and DVDplayers courtesy of Hitachi Courtesy Steven Pippin and Gavin Brown's enterprise, Corp., New York America,Ltd. Courtesy Zhu Jia

Front coven Douglas Gordon. Video still from Monument to X. 1998. Courtesy the artist and Gagosian Gallery, New York The Museum of Modern Art, New York 33 Street at Queens Boulevard www.moma.org