essay - sites of time in relation to three visual artistsvisual art represents a multitude of things...

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‘Anachronic’, ‘Polychronic’ and ‘Monochronic’ Sites of Time in Relation to Installation Works by Contemporary Visual Artists: Moyra Davey, The Copperheads series; Kutlug Ataman, The Portrait of Sakip Sabanci; and Tehching Hsieh, One Year Performance: Time.

“Memory is not an instrument for surveying the past but its theatre. It is the medium of past experience, just as the earth is the medium in which dead cities lie buried. He who seeks to approach his own buried past must conduct himself like a man digging.”-WalterBenjamin,“ExcavationandMemory”1

Contemporaryartistshaveincreasinglyusedarchivalresearchinthecreationoftheirartworks,inordertodiscoverandtoquestionhistoricaltruth,characteristicoftheso-called“historiographicturn”2.Thehistoriographic“turn”incontemporaryartemergedintheearlyyearsofthetwenty-firstcentury.Itisexploredbyanumberofartistsandcharacterisedbydepictionsofarchivalresearchintohistoricalrepresentation.Itactsasanattemptatgraspingtheclutteredfabricoftheworld,andwasinauguratedbytheeventsofSeptember112001andthe“waronTerror”,andcanthereforebeseenasessentiallytheart of the Bush era.3 Theartistsreferencedinthisessayhaveundertakenvariousformsreferencingthepast,associatedwitharchaeologicalexcavation,memorialization,andrepetition,butnotalloftheartistsincludedinthisessayworkagainstchronologicalandsequentialtime.

Visualartrepresentsamultitudeofthingsatdifferentinstantsinspaceandtime.Visualartiscreativeartwhoseproductsaretobeappreciatedbysight,includingphotography,film-making,performanceandinstallation.4Theexamplesofvisualartpresentedhererelatetothe‘anachronic’or‘heterochronic’siteoftimedepictedinthephotographicworksofMoyraDavey’sCopperheadseries;polychromictime in KutlugAtaman’sThe Portrait of Sakip Sabanci;andmonochronictimeinstilledinTehchingHsieh(b.1950)Time Clock Piece (One Year Performance,1981-1982).Certaintheorists,forexampleGiorgioAgambenandMiekeBal,haveproposedfundamental‘anachronic’,‘heterochronic’,‘monochronic’and‘polychronic’understandingsofhistory,andartistshaveuncoveredorextendedthefieldofthenotionoftimetotheextentthattheveryconceptofthecontemporaryhasbeenbroughtintoquestion.51Benjamin,Walter,(1999)“ExcavationandMemory,”inSelectedWritings,Volume2,Part2,1931-1934,ed.MichaelW.Jennings,HowardEiland,andGarySmith,trans.RodnetLivingstoneetal.Cambridge,MA:BelknapPressofHarvardUniversityPress,p.576.2Roelstraete,Dieter,(2009)TheWayoftheShovel:OntheArcheologicalImaginaryinArt.E-Flux.Journal#04[online].Availablefrom:http://www.e-flux.com/journal/04/68582/the-way-of-the-shovel-on-the-archeological-imaginary-in-art/[Accessed20thDecember2016].3Roelstraete,Dieter,(2009)AftertheHistoriographicTurn:CurrentFindings–Promontory.E-Flux.Journal#06[online].Availablefrom:http://www.e-flux.com/journal/06/61402/after-the-historiographic-turn-current-findings/[Accessed1stNovember2016].4EnglishOxfordDictionaries:Visualart[online].Availablefrom:https://en.oxforddictionaries.com/definition/visual_art[Accessed10thDecember2016].5Groom,Amelia,(2013)Time: Documents of Contemporary Art,MIT/WhitechapelGallery,pp.12-25.

Copyright Sarah F Janavicius

http://www.goodreads.com/author/show/1860.Walter_Benjamin

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Moyra Davey, Copperhead series, 1990“Of what use, then, is the monumentalistic conception of the past, engagement with the classic and rare of earlier times, to the man of the present? He learns from it that the greatness that once existed was in any event once possible and may thus be possible again.”-FriedrichNietzsche,“OntheUsesandDisadvantagesofHistoryforLife”6

MoyraDavey(Canadianb.1958,livesinNewYorkCity,UnitedStates)isavisualartist,whoworksinvideoandfilm-basedphotography.Herphotographsareintimatelyscaledandshotonfilm,andareacontemplationoftime.Sheisknownforcreatingphotographsofhersurroundings,depictingseeminglyminorobjectsoftheordinaryeverydaywhichareusuallyoverlooked.Herphotographsdepictanawarenessofhowtimepassesinadomesticsetting.Daveyrecordstheaccumulationofdustunderthebed;dustinthegroovesofarecordonaturntable;acloseupofastackofbooksfromthe1990s;oratubeofointmentforathlete’sfoot,signifyingtouchingsignsofhumanity,theoutoffashion,theoutmodedandtheuntimely.7Davey’sworkunintentionallyreactstoquestionspublishedbyeditorsofOctober,inthespringissue2002:‘theobsolescent,the“outmoded”,thenonsynchronous,discardedforms,marginalmediums:whichappeartoberesourcesofinteresttocontemporaryartistsandtheirprojects.Howdoesobsolescencefigureinyourwork?[…]Doesitserveconstructivepurposesinyourwork–i.e.,themakingofanewsortofmediumorform?’8[…].Daveydescribesherworkas‘anachronisticcontemporary’Nietzscheanwithnotionsofuntimeliness(Unzeitgemässig).Nietzschean‘untimeliness’ischaracteristicoftheGermanphilosopher.

FriedrichNietzsche’sUnzeitgemässeBetrachtungen(UntimelyMeditations),sometimestranslatedasUnfashionable(orUnmodern)Observations.[…]andparticularlyreferencinghisideas:'thequestforself-determinationleadstoNietzscheannihilism'[…]illustratingtheNietzscheanbeliefthatartcangiveformandclosuretothemeaninglessnessofexistence.9Thenotionofaccidenthashadmanymeanings,from“decisivemoment”to“photographingtoseewhatsomethingwilllooklikephotographed.”AsDaveyquotes“Butisthisananachronismforcontemporarywork,decades

6Nietzsche,Friedrich,(1997)“On the Uses and Disadvantages of History for Life,” in Untimely Meditations,ed.DanielBreazeale,trans.R.J.Hollingdale.Cambridge,UK:CambridgeUniversityPress,p.69.7Barliant,Claire,[n.d.]MoyraDevey:CopperheadNo.57,Collectiononline.Guggenheim[online].Availablefrom:https://www.guggenheim.org/artwork/26690[Accessed11thDecember2016].8Baker,George,ed.,‘ArtistQuestionnaire:21Responses’,October,no.100(Spring2002)p.7.9Ibid(Refertofootnote5),p.174.10Davey,Moyra,(2008)“NotesonPhotographyandAccident”wasoriginallypublishedinHelenMolesworth,ed.,LongLifeCoolWhite:PhotographsandEssaysbyMoyraDavey,YaleUniversityPress,[online].Availablefrom:http://murrayguy.com/wp-content/uploads/2012/02/Davey_Notes_on_Photography__Accident.pdf[Accessed28thDecember2016].


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aftertheethosofthestreet?”10ThechoiceofobjectsbecomesinDavey’swords,“amementomoriandatangibleindexoftimepassing.”11

This‘mementomori’notionremindsthevieweroftheirmortalityandthefragilityofthehumancondition.12Herphotographsalsocommunicateanimplicitchallengetotheexistingparametersofdigitalimagingtechnology.

MoyraDavey,CopperheadGrid,1990.

TheAmericanone-centcoinhasportrayedareverediconprofileofthelatePresidentAbrahamLincoln,since1909,thecentennialyearofhisbirth.Theone-centcoinisknowncolloquiallyastheLincolnpennyandisusuallythesmallestdenominationwithinthecurrencysystem.13Davey’sTheCopperheads isaserieswhichwasinitiatedbythepoststockmarketcrashof1987andcompriseonehundredChromogenicprintsofLincolnpenniesshotbetween1989and1990,exhibitedasaninstallation,andfrequentlyinstalledinagridformation.

InDavey’swords“Ishotthepenniesonacopy-standwitharakinglight;IwouldtakethefilmtothelabinChinatownthatmadesmall,whiteborderedprints.ThoughIwasnotmakingmuchrevenuefromthem,IthoughtoftheCopperheadsinsomewayasmyowncounterfeit,adeeplysatisfyingreverieofself-sufficiency,abitliketheshit-to-goldfantasywhereuponthedirtierandgrimierthepenny,thegreateritspotentialfortransformationandsurprise”(2010).14Daveyconsidersherworkasapersonalarchaeologyoftheself,butamountsnolesstoclosevisualexaminationsofexternalmaterialworldobjectsofeverydaylife.15

11Dugan,Jess,(2008)“AConversationwithMoyraDavey,”BigRedandShinyI,no,79www.bigredandshiny.com/cgi-bin/BRS.cgi?issuelissue79&sectionlarticle&articleiINTERVIEW_WITH_MOYRA_25527598.12Tate,[n.d.]MementoMori.Tate[online].Availablefrom:http://www.tate.org.uk/learn/online-resources/glossary/m/memento-mori[Accessed27thDecember2016].13Picone,Kiri(2014)The Intriguing History of the American Penny[online].Availablefrom:http://all-that-is-interesting.com/intriguing-history-american-penny[Accessed2ndJanuary2017].14Davey,Moyra,(2012)The OpticparableWordpress[online].Availablefrom:https://opticparable.wordpress.com/2012/12/10/moyra-davey/[Accessed29thDecember2016].15Roelstraete,Dieter,(2016)The Way of the Shovel.UniversityofChicagoPress,pp.82-91.


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Eachcoinisphotographedandthenextremelymagnified,eachportrayingaprofileimageofAbrahamLincoln’svisageasafragmented,scarredandpittedportraitwithanalien,foreigndisposition.Thewornoutsurfacesofthepennyimagesareindividuallyuniqueincharacter,appearanceandimpression,eachpennypresentedasauniqueobjectopposedtotheiroriginalfunctionasobjectsofexchange.Theseimagesrepresentan‘anachronist’notionoftime,givingtheappearanceofacollectionoffoundobjectsfromanarchaeologicaldig,alsoreferencingthecontemporaryerabylarge-formattedcompositionalphotography.

Daveywrites“WhenIbegancollectingpenniesfortheCopperheadseries,I’djustmovedtoNewYork,hadnomoneyandwasthinkingalotaboutthepsychologyofmoney:Freudianideasthatequatemoneywithexcrement;thePotlatchcustomofshamingarivalwithextravagantgiftsandsquanderingofgoods(thetitleoftheseriescomesfromtheKwakiuti&Haidaritualoftossing“armloadsofcoppersintothesea”);andmisers[…]16

Theone-centpieceorLincolnpennyisoflittleworthbecausenotonlyisitofthesmallestdenomination,butalsobecausemanybillionsofthesecoinswereminted.However,Davey’smagnificationofthecointransformsthemagnificentAbrahamLincolniconintoanaestheticallybeautifulanachronistexcavationalstatementofclassicalarchaeology.

ArthistorianNormanBrysonpositsthedistinctionbetween“megalography”and“rhopography”asfollows:“Megalographyisadepictionofthingswhichareconsideredgreatintheworld,forexample,greaticonicfiguresofhistory,thebattlesofheroes,thelegendsofthegods,andthecrisesofhistory.Rhopography(fromrhopos,forexample,trivialobjects,smallwares,trifles)thedepictionofthingswhichareconsideredlessimportantorlackimportance,theunassumingmaterialbaseoflifethat‘importance’continuallyoverlooks.Thecategoriesofmegalographyandrhopographyareintertwined,Theconceptofimportancecanariseonlybyseparatingitselffromwhatitdeclarestobetrivialandinsignificant;‘importance’generates‘waste,’whatissometimescalledthepreterite,thatwhichisexcludedorpassedover”[…]17

16Ibid(Refertofootnote13).17Bryson,Norman,(2004)Looking at the Overlooked: Four Essays on Still Life Painting.London:ReaktionBooks,p.61.


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MoyraDavey,Installationview,TheCopperheads,2013.

Kutuğ Ataman, The Portrait of Sakip Sabanci, 2014

"My friends thought I was crazy, that I should wait until I was dead. But I was determined. It is easy to promise but action is different."-SakipSabanci

KutuğAtaman(b.1961)(Anglo-Turkish,livesinLondon,UnitedKingdom)isafilmmaker,whoworksinvideo,installationandcontemporaryart.Politically,Atamanisadevotedsocialist,activist,aswellasbeingcontroversialandhomosexual.HewasarrestedinTurkey,imprisonedandtorturedbythemilitarycoup’sstatecontrolin1980.Publicexpressionsofdissent,forexampletheorganisationofpublicmeetingsorthepublishingofarticleswhicharecriticaltotheofficialideologywerestrictlyprohibited.AfterreleasefrominterrogationAtamanfledtotheUSAforfreedomandstudiedattheUniversityofCalifornia,LosAngeles.Hegraduatedwithamaster’sdegreeinfineartin1988.18

In1994AtamanreturnedtoIstanbulanddevelopedhiscareerasanartist,creatingfilmsandinstallations,whichbroughthimfameandnotoriety.Heparticipatedinthe48thVeniceBiennale,enteringavideotitled:Women Who Wear WigswhichisnarratedbyacancersurvivorMuslimactivist,transsexualandarevolutionary,alongwithotherwomenwhounrelatedlyallwearwigsandwhotellpersonalstories,ofissuessurroundingradicalism,illnessandsexualtransgression,andmoraloutrage,givingexamplesof

18Genc,Kaya,(2014)Politicalframing:InterviewwithradicalTurkishartistKutuğAtaman.Index on Censorship.43(3),pp.124-127.


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howthestateideologyhasaffectedthem.19AcommoncharacteristicofAtaman’svideoinstallationworkisgivingavoice,alanguage,andahistoricalnarrative,toindividualsregardlessofageorexperience.EachofAtaman’sworksproposesandproducesnewanddiversesubjects.20

Ataman’sinternationalstatusgrewashecreatednewvideoinstallations,whichwerebeingscreenedinprestigiousartgalleries.ThesegalleriesincludedTheSerpentineinLondonandtheMuseumofContemporaryArtinSydney.Atamansaid:“IhadexhibitedanearlierfilmBeggars(2010)attheIstanbulModern”.“Itisverysymbolicforme…Ineverreallyfeltwelcome.Thisislikeclosingacircle.It’sverysatisfying.”21“Thereisnothingelsetodohere.EvenifIbecomethetoastoftownitdoesn’tmatterbecauseIhavedoneeverything.Idon’thaveanyimmediateplansformylifeinTurkey;Iamjustatouristagain.”22

KutuğAtaman,The Portrait of Sakip Sabanci,2014.

Atamanlatestwork,The Portrait of Sakip Sabanci,(2014),a40footmultimediaartworkinstallation,servesasamemorialpiecetoprominentTurkishbusunesstycoon,industrialistandphilanthropist,SakipSabanci.ThisinstallationwasfirstshownatSakipSabanciMuseuminIstanbul,2014,thenat56thInternationalArtExhibitionatLaBiennalediVenezia,2015.ItwasalsoexhibitedinDenver,NewYorkandinLosAngeles,andlaterinGallery1,attheRoyalAcademySummerExhibitionin2016.23TheworkwascommissionedbytheSabanciFamily.The Portrait of Sakip Sabanci isnotaportraitofSakipSabanciintheconventionalsense,butratherhisidentification,

19Ibid.20Rogoff,Irit(2009)De-Regulation:withtheWorkofKutuğAtaman.Taylor&FrancisOnline,pp.165-179.[online].Availablefrom:http://www-tandfonline-com.ezproxy.northampton.ac.uk/doi/full/10.1080/09528820902840664[Accessed3rdJanuary2017].21Spence,Rachel(2010)Returnofthenative:Turkey’sbest-knownartistishavinghisfirstbigexhibitioninhishomeland.RachelSpencemeetsKutuğAtamaninIstanbul.ProQuest[online].Availablefrom:http://search.proquest.com/docview/762582017/B3A5DA966C804F6CPQ/2?accountid=12834[Accessed3rdJanuary2017].22Ibid.(Refertofootnote18).23[Anon.](2015):“The Portrait of Sakip Sabanci” at the 56th Venice Biennale!SakipSabanciMüzesi[online].Availablefrom:http://www.sakipsabancimuzesi.org/en/page/news/portrait-sakip-sabanci-56th-venice-biennale[Accessed2ndJanuary2017].


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constitutedfromthousandsofportraitsintheformof10,000LCDpanelssuspendedfromthegalleryceiling.Itsfocusisonthepolychronisticorderof“multi-tasking”,andthe“peoplefirst”philosophyofSakipSabanci(1933-2004),whowasalsoinfluencedbytheartsandculture.Polychronistictimeisaconditioninwhichoneperformselementsofdifferenttasksconcurrently(asopposedtosequentially).24AtamancreatedThe Portrait of Sakip SabanciforthetenthanniversaryofthepassingofSakipSabanci,whoisknowntohavevaluedandrespectedpeopleofallages,importanceandstature.The Portrait of Sakip Sabanci,makesvisibleallofthewindowsthatSabanciopenedtolifeandpeoplethroughouttheentiretyofhislifetime.Itactsasareflectionofhissympathetic,tolerantandcolourfulpersonality.25

The Portrait of Sakip Sabanci incorporatesamomentofsilenceasamomentinhonourofSakipSabanci.TheemphasisofAtaman’sinstallationisthevisualartandportraitsofpeople,depictingpassportsizedphotographsofthousandsofpeoplefromallwalksoflifewhohavecrossedpathswithSabanciinvariousways.26Asacollectivetheypresentamultiple-image,full-spectrumofpeoplefromallwalksoflife,whetherthosewhohavebeensupportedbySabanci,thosewhohaveworkedforhim,orfamilymembers,whilstimplementinganextraordinaryartisticcreation.

KutuğAtaman,Installationview,The Portrait of Sakip Sabanci,2014. 24EnglishOxfordDictionaries:Visualart[online].Availablefrom:https://en.oxforddictionaries.com/definition/polychronic[Accessed9thJanuary2017].25Ibid.26Ibid.


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Tehching Hsieh, One Year Performance (Time Clock Piece), 1980-1981

“’Time is money’ was one of the key slogans of capitalist ideology, and the timekeeper was the most significant of the new types of official introduced by the capitalist dispensation. […] Men actually become like clocks, acting with a repetitive regularity which had no resemblance to the rhythmic life of a natural being. They became, as the Victorian phrase put it, ‘as regular as clockwork’. […]”-GeorgeWoodcock,extractsfrom‘TheTyrannyoftheClock’,War Commentary(11-12March1944)n.p.27

TehchingHsieh(b.1950)(SouthernTaiwanese,livesinManhattanIsland,NewYorkCityBorough,UnitedStates)isaTaiwanese-Americanperformanceartist,whoworksinphotography,filmandperformance.AsanillegalimmigrantHsiehwasnotpermittedtoworkintheUSA.Hsiehdescribedperformanceartasameansoftransforminghisplightandasafulfillingpurposetohisisolation.Hisperformancescomprisedsolitaryconfinement,prisonandanexplorationoftime.28

Hsiehcreatedaconcessionoffiveone-yearperformanceswhichinclude:1978-1979:Cage Piece,1980-1981:Time Clock Piece,1981-1982:Outdoor Piece,1981-1982:Rope Piece1983-1984(alsotitledLife: One Year Performance),and1985-1986:No Art Piece.ThesubjectofTimeisacommonthreadlinkingthefiveone-yearperformances,allofwhichinvolvedbothdemandingphysicalandpsychologicalextremities.Althoughunambiguouslyaustere,voluntaryandaself-controlledpartiallyimprisonedcondition;Hsiehbecame‘asentientwitnessoftime’.(HeathfieldandHsieh,2009:p.11).29

27Groom,Amelia,(ed.)(2013)Time: Documents of Contemporary Art,WhitechapelGallery,p.66.28O’Donnell,Ian(2012)Timeandisolationasperformanceart:anote.Sage[online].Availablefrom:http://journals.sagepub.com/doi/pdf/10.1177/1741659014528345[Accessed5thJanuary2017].29Heathfield,A.,andHsieh,T.(2009)Outofnow:TheLifeworksofTehchingHsieh.LondonandCambridge,MA:LiveArtDevelopmentAgencyand\MITPress,p.11).


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Tehching Hsieh, One Year Performance (Time Clock Piece), 1980-1981.

Time Clock Piece (One Year Performance,1981-1982)isadurationalpiece,themostdemandingandrigorouslydocumentedofHsieh’sPerformancesbecauseofthetimeframe.30Itcommencedat7p.m.on11April1980throughto6p.m.on11April1981.UndertakeninhisManhattanstudio,Hsiehspent12monthsclockinginonthehoureveryhour,24hoursaday/night,citingonly133occasionswhentheclock-insweremissedthroughoutthedurationoftheyear’sperformancepiece,duetooversleeping.Oneachoccasionhetookaportraitphotographs,atotalof8,627overthefullduration.Thephotographswereshotusingamoviecamera,laterbecomingatime-lapsefilmonacontinualloop,inwhicheachdaywascompressedintoasinglesecond,andthedurationoftheyearreducedtosixminutes.Theeffectofthefilmproducedanearschizophrenicurgencyofwhirringimages.Hsiehshavedhishead,attheonsetoftheperformanceandattheendhishairwasshoulderlength.Hedressedasaworkerinoverallsandportrayedasawage-slave.Byperseveranceandsheerexhaustionhedemonstratedtheabsurdityofsubmissiontoclocktimethatisoftentakenforgrantedinoursociety.ThisTime Clock Piecewasopentothepublicforfourteendaysintotal,throughoutthedurationoftheyear.31

TheTime Clock Piece isa‘monochronic’investigationofthenatureoftimeexploringour

responsetothetemporalsequenceororderingoftime.Monochronictimeisaconditioninwhichonethingatatimeisbeingachieved,withnotolerationoflatenessorinterruption,withahighdegreeoforderlinessandcommitmenttothetaskathand.ThesameprinciplesapplytootherOne Year Performances byHsieh.Hesubjectedhimselftosleepdeprivationinarelentlessquesttoinvestigatethenatureoftimeandmethodicallyobservedthepassingoftime,probingquestionsof

30Marks,K.(2014)TehchingHsieh:themanwhodidn’tgotobedforayear.Theguardian[online].Availablefrom:https://www.theguardian.com/artanddesign/australia-culture-blog/2014/apr/30/tehching-hsieh-the-man-who-didnt-go-to-bed-for-a-year[Accessed30thOctober2016].31Ibid.(Refertofootnote27).


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existence,timeandmortality.32HsiehdescribeshisTime Clock Piece as‘Lifeisalifesentence,lifeispassingtime,andlifeisfreethinking’33AswellasconveyingamessageaboutthetediumandconformityofindustriallabourTime Pieceisalso,accordingtoHsiehaboutan“interestintheuniversalcircumstancesofhumanlife.”(Personalcommunication,20June2011).

This,asareflectionofhisendeavourrelatesto‘passingtime,nowhowtopasstime’(Heathfield

andHsieh,2009:p.336).InaninterviewwithTheSaturdayPaperHsiehsaysaboutlife“wedooverandoverthesamethingbutalsoit’sdifferentbecausetimeschange.Timethatpassescannotcomeback.”34InTime Clock Piece, Hsiehchallengedtheseverityoftimeandthelife-sappingeffectofhisschedule.Hsiehmainlyallowedhisartperformancesto‘speakforthemselves’[...]35However,theyresoundwiththecapacitytobearwitnesstotime;time’sgriponlife;andthehumancapacitytobefreeunderconstrainedduressintermsoftimeandspace.

TehchingHsieh,Installationview, One Year Performance (Time Clock Piece),1980-1981

32Ibid.(Refertofootnote1).

34Sebag-Montefiore,C.(2014)Timepiece:TehchingHsiehexhibition.TheSaturdayPaper[online].Availablefrom:http://www.clarissasebagmontefiore.co.uk/time-piece-tehching-hsieh-exhibition/[Accessed30thOctober2016].35Ibid.(Refertofootnote33).


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Thethreeexamplesdiscussedinthisessayallsharetheformofinstallationworks,thesubjectofportraitureandexploreintheirvariouswaystheartists’andourrelationshipandresponsetotime.Davey’sphotographsdepictthemonotonouslabourtimeconstitutedinwomen’swork,indicatingrepetitivedomesticchoresandtheactofmulti-tasking.Daveyaccomplishesanartoftheuntimely,reflectingananachronistictemporalitywhichshedescribesasan‘anachronisticcontemporary’wayofviewingherwork.Daveyworksarebasedonarchaeologyoftheself,andlinkedtoanotionofentropy,withtheideaofdustbeingamementomori.Daveyisdrivenbyapreoccupationwithmortalityanddeath.Atamanspenttimeinhisyouthinprisonforhisdedicatedsocialist,activist,diverseandcontroversialpractices,aswellasbeingahomosexual.Ataman’sThe Portrait of Sakip Sabanci (2014)ishigh-technological,gestural,memorialandapolychonisticartworkinitsentirety.The Portrait of Sakip Sabanci typifiesAtaman’sethos,SakipSabancidisplayingalifetimefollowingthephilosophyofa“peoplefirst”“openoffice”,highlycharacteristicofthepolychronisticexperienceoftime.Ataman’svideoandinstallationworksofartallowtheviewertothinkaboutissuesandproblemsbeyondthemselves,whichallowsthemtooperateintheworldinadifferentmanner.Hsieh’sOne Year Performances(1978-1986)portrayHsieh’sself-imposedrulesthatbroughthimintoconflictwithsocietallaw,butalsoproducedsomeofitsmodus operandi.Afterthe5-year-performancesHsiehwentontodoa13-year-long-performanceexploringtheboundariesbetweenartandlife. Out of Now : The Lifeworks of Tehching Hsieh.[Endpage174],Hsiehdetailsanimpressivebodyofwork.36

36Ibid(Refertofootnote28).


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Bibliography:

[Anon.](2015):“The Portrait of Sakip Sabanci” at the 56th Venice Biennale!SakipSabanciMüzesi[online].Availablefrom:http://www.sakipsabancimuzesi.org/en/page/news/portrait-sakip-sabanci-56th-venice-biennale[Accessed2ndJanuary2017].Baker,George,ed.,‘ArtistQuestionnaire:21Responses’,October,no.100(Spring2002)p.7.Ibid(Refertofootnote5),p.174.Barliant,Claire,[n.d.]MoyraDevey:CopperheadNo.57,Collectiononline.Guggenheim[online].Availablefrom:https://www.guggenheim.org/artwork/26690[Accessed11thDecember2016].Benjamin,Walter,(1999)“ExcavationandMemory,”inSelectedWritings,Volume2,Part2,1931-1934,ed.JenningsMichaelW.,HowardEiland,andGarySmith,trans.RodnetLivingstoneetal.Cambridge,MA:BelknapPressofHarvardUniversityPress,p.576.Bryson,Norman,(2004)Looking at the Overlooked: Four Essays on Still Life Painting.London:ReaktionBooks,p.61.Davey,Moyra,(2012)The OpticparableWordpress[online].Availablefrom:https://opticparable.wordpress.com/2012/12/10/moyra-davey/[Accessed29thDecember2016].Davey,Moyra,(2008)“NotesonPhotographyandAccident”wasoriginallypublishedinHelenMolesworth,ed.,LongLifeCoolWhite:PhotographsandEssaysbyMoyraDavey,YaleUniversityPress,[online].Availablefrom:http://murrayguy.com/wp-content/uploads/2012/02/Davey_Notes_on_Photography__Accident.pdf[Accessed28thDecember2016].Dugan,Jess,(2008)“AConversationwithMoyraDavey,”BigRedandShinyI,no,79www.bigredandshiny.com/cgi-bin/BRS.cgi?issuelissue79&sectionlarticle&articleiINTERVIEW_WITH_MOYRA_25527598EnglishOxfordDictionaries:Visualart[online].Availablefrom:https://en.oxforddictionaries.com/definition/visual_art[Accessed10thDecember2016].EnglishOxfordDictionaries:Visualart[online].Availablefrom:https://en.oxforddictionaries.com/definition/polychronic[Accessed9thJanuary2017]Genc,Kaya,(2014)Politicalframing:InterviewwithradicalTurkishartistKutuğAtaman.Index on Censorship.43(3),pp.124-127.Groom,Amelia,(2013)Time: Documents of Contemporary Art,MIT/WhitechapelGallery,pp.12-25.JessDugan,“AConversationwithMoyraDavey,”BigRedandShinyI,no,79(April1,2008),www.bigredandshiny.com/cgi-bin/BRS.cgi?issuelissue79&sectionlarticle&articleiINTERVIEW_WITH_MOYRA_25527598Heathfield,A.,andHsieh,T.(2009)Outofnow:TheLifeworksofTehchingHsieh.LondonandCambridge,MA:LiveArtDevelopmentAgencyand\MITPress,p.11).Marks,K.(2014)TehchingHsieh:themanwhodidn’tgotobedforayear.Theguardian[online].Availablefrom:https://www.theguardian.com/artanddesign/australia-culture-blog/2014/apr/30/tehching-hsieh-the-man-who-didnt-go-to-bed-for-a-year[Accessed30thOctober2016].Nietzsche,Friedrich,(1997)“On the Uses and Disadvantages of History for Life,” in Untimely Meditations,ed.DanielBreazeale,trans.R.J.Hollingdale.Cambridge,UK:CambridgeUniversityPress,p.69.O’Donnell,Ian(2012)Timeandisolationasperformanceart:anote.Sage[online].Availablefrom:http://journals.sagepub.com/doi/pdf/10.1177/1741659014528345[Accessed5thJanuary2017].Picone,Kiri(2014)The Intriguing History of the American Penny[online].Availablefrom:http://all-that-is-interesting.com/intriguing-history-american-penny[Accessed2ndJanuary2017].Roelstraete,Dieter,(2009)TheWayoftheShovel:OntheArcheologicalImaginaryinArt.E-Flux.Journal#04[online].Availablefrom:http://www.e-flux.com/journal/04/68582/the-way-of-the-shovel-on-the-archeological-imaginary-in-art/[Accessed20thDecember2016].Roelstraete,Dieter(2009)AftertheHistoriographicTurn:CurrentFindings–Promontory.E-Flux.Journal#06[online].Availablefrom:http://www.e-flux.com/journal/06/61402/after-the-historiographic-turn-current-findings/[Accessed1stNovember2016].Roelstraete,Dieter,(2016)The Way of the Shovel.UniversityofChicagoPress,pp.82-91.Rogoff,Irit(2009)De-Regulation:withtheWorkofKutuğAtaman.Taylor&FrancisOnline,pp.165-179.[online].Availablefrom:http://www-tandfonline-com.ezproxy.northampton.ac.uk/doi/full/10.1080/09528820902840664[Accessed3rdJanuary2017].Sabanci,SakipMüzesi(2015):“The Portrait of Sakip Sabanci” at the 56th Venice Biennale! [online].Availablefrom:http://www.sakipsabancimuzesi.org/en/page/news/portrait-sakip-sabanci-56th-venice-biennale[Accessed2ndJanuary2017].


http://www.sakipsabancimuzesi.org/en/page/news/portrait-sakip-sabanci-56th-venice-biennale


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http://www.bigredandshiny.com/cgi-bin/BRS.cgi?issuelissue79&sectionlarticle&articleiINTERVIEW_WITH_MOYRA_25527598


https://en.oxforddictionaries.com/definition/visual_art

https://en.oxforddictionaries.com/definition/polychronic



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https://www.theguardian.com/artanddesign/australia-culture-blog/2014/apr/30/tehching-hsieh-the-man-who-didnt-go-to-bed-for-a-year

http://all-that-is-interesting.com/intriguing-history-american-penny

http://all-that-is-interesting.com/intriguing-history-american-penny

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http://www.e-flux.com/journal/04/68582/the-way-of-the-shovel-on-the-archeological-imaginary-in-art/

http://www.e-flux.com/journal/06/61402/after-the-historiographic-turn-current-findings/

http://www.e-flux.com/journal/06/61402/after-the-historiographic-turn-current-findings/

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http://www-tandfonline-com.ezproxy.northampton.ac.uk/doi/full/10.1080/09528820902840664


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Sebag-Montefiore,C.(2014)Timepiece:TehchingHsiehexhibition.TheSaturdayPaper[online].Availablefrom:http://www.clarissasebagmontefiore.co.uk/time-piece-tehching-hsieh-exhibition/[Accessed30thOctober2016].Spence,Rachel(2010)Returnofthenative:Turkey’sbest-knownartistishavinghisfirstbigexhibitioninhishomeland.RachelSpencemeetsKutuğAtamaninIstanbul.ProQuest[online].Availablefrom:http://search.proquest.com/docview/762582017/B3A5DA966C804F6CPQ/2?accountid=12834[Accessed3rdJanuary2017].Tate,[n.d.]MementoMori.Tate[online].Availablefrom:http://www.tate.org.uk/learn/online-resources/glossary/m/memento-mori(Accessed27thDecember2016].

List of Illustrations:

Davey,M.,(American,bornCanada,1958).CopperheadGrid,1990.100chromogenicprints;10×8inches,(25.4×20.3centimetres),each.TheMetropolitanMuseumofArt,Purchase,VitalProjectsFundInc.Gift,throughJoyceandRobertMenschel,2011(2011.17a–vvvv)©MoyraDavey.

Davey,M.,Installationview,Speaker Receiver,KunsthalleBasel,2010.CourtesyoftheartistandMurrayGuy,NewYork.ConsistingofonehundredphotographsofAbrahamLincoln’sprofileononehundredUnitedStatespennies,Copperheads 101-200offersameditationtheentropyofvalue,eachcoinuniqueinitssusceptibilitytoscratchinganderasure,aserialisedstudyofthehumblestcoinage.

Ataman,K.,The Portrait of Sakip Sabanci,2014. -9,216LCDpanelsconfiguredin144modulesof64LCDpanelseach-56thBiennalediVenezia-EsposizioneInternazionaled´Arte-»AlltheWorld´sFutures«-Arsenale-Venice-November6,2015.

Ataman,K.,Installationview,The Portrait of Sakip Sabanci,2014. The portrait of Sakip Sabanciisamulti-imageworkofsomeofthethousandsofpeople,fromallwalksoflife,whosepathscrossedSakipSabanci'sinsomeway.Thesearepeoplewhoweresupportedbyhim,thosewhoworkedwithhim,andfamilymembers.

TehchingHsieh,One Year Performance (Time Clock Piece),1980-1981. One Year Performance (Time Clock Piece) wasincludedintheGuggenheim’s‘TheThirdMind’(2009),inclusiveofallmaterialsanddocumentation,suchasstillandmovingimages,a16mmfilmcameraanda16mmprojectortorunthefilm.Theperformancewasalsothefirstonetobeshownoverseas,firstattheGwangjuBiennalein2010andonemonthkaterattheLiverpoolBiennial.

TehchingHsieh,Installationview, One Year Performance (Time Clock Piece),1980-1981. One Year Performance (Time Clock Piece) is whereHsiehpunchedatimeclockinhisstudioeveryhouronthehourforanentireyear.The Time Clock Pieceisthoughttohavebridgedagapbetweenindustry.


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http://www.tate.org.uk/learn/online-resources/glossary/m/memento-mori