How Time Can Dispossess: On Duration and Movement in Contemporary Performance

“Due to the accelerated and project-like character of our inner time, the subject finds himself in a no man’s land (that is very often a non-place, as defined by Marc Auge) if something does not function or if nothing goes on; he feels as though the duration intrudes upon him and, paradoxically, steals his most intimate time (which is actually heavily managed by the contemporary apparatuses)”

Read Bojana Kunst’s excellent text about duration, and how we need to forget ourselves – as subjects – in order to create opposition to the current agenda of acceleration. It relates to my discussion of the social media and their (in)capability for helping us building collectives:

Bojana Kunst

Bojana Kunst

– First published: Maska, Ljubljana, 132 – 134, 2010.
– First presented as lecture: Performance Matters, London, UK,  5 October 2010.
– Shortlink:

On 17 November 2007, in one of their Ballettika Internettikka guerrilla actions intervening into various spaces by means of miniature mechanical devices and broadcasting these events online, Igor Štromajer and Brane Zorman illegally brought a robot to the top of the Lippo Centre in Hong Kong. On the other side of the world, at an equally eminent avant-garde venue, the Hellerau Festival House in Dresden (Germany), the audience was waiting for the broadcast of this illegal guerrilla ballet action, which was scheduled for 10 PM CET. Every minute of the steps leading up to the action was meticulously planned, in accordance with the illegal nature of the event. Temporality came second to the strategic effect of taking over the space and synchronicity…

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