Not this time. Temporalities of ending, editing, and enduring
The conference Not this time. Temporalities of ending, editing, enduring calls for perspectives on retrieving and renegotiating temporal aspects of artistic practices, lived lives, and knowledge production while at the same time resisting ‘overing’ what we still seem to be in the very midst of today.
Temporalities are not times; like continually broken clocks, they must be reset again and again. They are expected to recalibrate and fit into a larger temporal order. Temporalities do not experience a uniform time but rather a time particular to the labour that produces them. Their experience of time depends on where they are positioned within a larger economy of temporal worth.
The Waiting Times Project, Kelechi Anucha, Lisa Baraitser, Stephanie Davies, Michael Flexer, Martin Moore, Jordan Osserman & Laura Salisbury (University of Exeter & Birkbeck)
Annett Busch, writer, editor, translator, and co-curator of Women on Aeroplanes (Trondheim Academy of Fine Art, NTNU)
Fatima El-Tayeb, Professor of Ethnicity, Race & Migration and Women’s, Gender, and Sexuality Studies (Yale University)
Jane Jin Kaisen, Artist, professor (The Royal Danish Academy of Art, School of Media Art, Copenhagen)
If speed theory had its heyday around the end of the previous millennium, announcing that everything goes faster and faster not least due to technological growth, the beginning of the 21st Century reintroduced us to temporalities of resistance such as slowing down, resting, maintaining, waiting, repairing, and ending. As such, analyses of historically and geographically different power chronographies – examining diverging interests and power structures within concepts of time – have become imperative. Scholars across the aesthetics, cultural studies, and social sciences have unfolded historically specific temporalities tied to either global asymmetries and unequal distributions of work and rest, to the syncopation of ecological extinction and technological optimism, or to the afterlife of colonialism and the persistence to continue living.
Instead of supporting temporalities of growth, development, and exhaustion, how can we produce and analyze temporalities of maintenance, endurance, and redistribution? In the arts, we notice an increasing interest in the aesthetics of production and fieldwork – both as an anthropological method and in the sense of working across fields. With this call, we look to concrete practices and material approaches. The film editor, for instance, works with rhythm, composition, and the relation of space and time, as a mode of thinking not about but with images, sound, locations, people, and so on. In performance art, queer witches and Black choreographers instigate the copresence of lost ancestral commonalities. Across literature and visual arts, science fiction makes us reflect on the uneven distribution of futures.
Not this time marks a refusal. The act of rejecting or reimagining historical conceptions of time often leads to the carving out of alternative temporal practices informed by queer, feminist, intersectional, critical race, decolonial, postcolonial, or indigenous positions. These temporal strategies state a demand to “work on their clock”, as they complicate and challenge dominant Western “time maps” and their disciplining of time. Whether rooted within or outside the academy such practises also encompass what we refer to as temporalities of ending, editing and enduring. How may we rework time ontologically, epistemologically, methodologically, analytically, or even affectively? What comes after the ending? Who is afforded the power of editing and at what cost? How can we, others, and other constitutions of weendure alone or together across time?
Wednesday 24 May
|09:30-10:00||Arrival, registration and coffee (4A-0-69)|
|10:00-10:30||Welcome by the organisers (4A-0-69)|
|10:30-12:30||Keynote (4A-0-69): The Waiting Times Project | The Time of Care: Findings from the Waiting Times Project
Moderated by Anna Meera Gaonkar & Cecilie Ullerup Schmidt)
|13.30-14:30||Keynote (4A-0-69): Jane Jin Kaisen | Screening of “Burial of this world” (2022)
Moderated by Cecilie Ullerup Schmidt & Eva La Cour)
|15:00-16:30||Session 1 | PENDING (4A-0-69), moderated by Frederik Tygstrup|
|16:45-18:15||Session 2 | ART IN SICK TIMES (4A-0-69), moderated by Emma Sofie Brogaard
Angelica Stathopoulos |slow, small, sick: a bedwritten political resistance
Anton Juul | In search of promiscuous times. AIDS, affect and queer temporalities in Guillaume Dustan’s autopornographic trilogy
Birgit Bundesen | Psychopathology as disturbances of lived time and aesthetic production as recovery-strategy
|18:15-19:30||Reception: Bubbles and snacks|
Thursday 25 May
|8:45-09:00||Coffee and croissants (4A-0-69)|
|9:00-10:30||Session 3 | (RE)STORING (4A-0-69), moderated by Solveig Daugaard
Mikkel Krause Frantzen | The house of the broken time
Marianne Ølholm | Scores of time in a rawlings’ Sound of MullKristoffer Gansing & Linda Hilfling Ritasdatter | A video store after the end of the world
|11:00-12:30||Keynote (4A-0-69): Annett Busch | MATERIAL, SLIPPAGE, MONTAGE.
How can notes be re-edited to become keys?
Moderated by Eva La Cour
|13:30-15:00||Session 4 I Parallel
Panel 4A | MATERIAL POETICS (4A-0-56), moderated by Emma Sofie Brogaard
Imri Sandström | The REACH; temporalities of ekphrastic writing
Stefanie Heine | “Used”: Geomorphology, textual recycling, and waste in Cormac McCarthy’s editing practice
Panel 4B | CONJUNCTIONS THROUGH TIME (4A-0-56), moderated by Xenia Brown Pallesen
Nina Cramer, Sarah El-Taki & Anna Weile Kjær | Conjunctions through time: Methodological perspectives on anachronisms and intergenerational exchanges
|15:30-17:00||Session 5 | Parallel
Panel 5A | FEMINIST DWELLINGS (4A-0-56), moderated by Cecilie Ullerup Schmidt
Anne Pind | Fallow thinking (let it be)
Frida Sandström | A sensuous reversal of consciousness: Carla Lonzi’s deculturalization of history
Mante Vertelyte | How does time come to matter? Diffractive temporalities of making it to STEM academiaPanel 5B | DISTURBING ORDERS (4A-0-68), moderated by Xenia Brown Pallesen
Julia Alting | Reimagining art historical time: Disrupting chronology at the museum
Joen Vedel | In search of now-time: live-editing as a mode of research
Maj Ørskov | This isn’t just an academic exercise: Unlearning “the Middle East” through artistic practices
|19:00-22:00||Dinner @ Bar'Vin, Skindergade 3, 1159 Copenhagen K|
Friday 26 May
|09:30-10:00||Coffee and croissants (4A-0-69)|
|10:00-11:30||Keynote (4A-0-69): Fatima El-Tayeb | (Un)Archiving Black Europe: The Intersectional Black European Studies Project as a Transformative Archive
Moderated by Anna Meera Gaonkar)
|11:45-13:15||Session 6 | Parallel
Panel 6A | MESSING (4A-0-68), moderated by Anna Meera Gaonkar
Lærke Cecilie Anbert | Whatever you do, don’t swim in Hearst Pool – Negotiations and meaning making of the past, present and future at UC Berkeley
xiri tara noir | the C in Chaos is for Care and Community
Panel 6B | ENDINGS (4A-0-68), moderated by Eva La Cour
Merete Monrad & Ghita D. Lauritzen | Dead time in the welfare state
Pernille Zidore Nygaard & Pernille Lystlund Matzen | Interrupting the chronopolitics of the national gallery: Reading the museum archive otherwise
|14:15-15:45||Session 7 | PREEMPTING (4A-0-69), moderated by Frederik Tygstrup
Steyn Bergs | Images of coevalness: Laura Huertas Millán’s Aequador (2012) and Juan Caloca’s Indio NAFTEADO (2019)
Franciszek W. Korbański | Exploring the future in what-if mode. Scenarios, future-making and Anthropocene
Solveig Gade | Wrestling the future out of the hands of presentist warfare: Negotiating temporalities in works by Trevor Paglen and Hito Steyerl
Download programme (pdf)
The price of the conference will be € 70 + an additional conference dinner. Emerging scholars and independent artists/cultural workers presenting papers can apply for support for travel and accommodation (flat rate of € 250).
The conference is organized by the New Carlsberg Foundation research centre Art as Forum, Department of Arts and Cultural Studies at the University of Copenhagen.
The conference is supported by CEMES (Center for Modern European Studies), University of Copenhagen.
If you have any questions, do not hesitate to contact the organizers.