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[Sam Taylor Wood's Still Life]

Time is where it’s at, within the current field of well funded art talk. Thanks to “exhibitions” such as Hans Ulrich Obrist’s Il Tempo del Postino, an event that took place and currently only exists within the second-hand conversations of what happened, or interviews, or a very expensive catalog, the talk of time is an ironically “hot” topic. “The world’s first visual arts opera” would and could clearly only be realized within the current climate of the 21st Century’s economics of attention. The stage has certainly been set for art’s privileged spectacle to be fully taken advantage of as visual art on the ‘couture’ institutional level has become a finely and well funded system for the advertisement of situational importance and historical validation. Time as a medium has been the hidden forefront of art discussion since the legal battle between Ruskin and Whistler solidified the troubled relationship of art and the public, via Whistler’s defense of ‘Art for Art’s Sake.’ However, [re]focusing the direction of a viewer to be as hyper-sensitive as possible in order to realize the importance of time-mediums may prove to be fertile ground for the extended application of art as a perceptual exercise or the implicit relationship art has with advertising. Either application should prove fruitful for those willing to engage, as we haphazardly wander into an era of what may be considered “Real Abstract Art.”

Face it, if I told you that the performances of Il Tempo del Postino were the most amazing performances I’ve ever seen in my life, you’d start looking for the exhibition.

The expensive catalog by M/M Paris can be found here:

[ratings]