“I worry about the British public,” said performance artist Marina Abramovic in an interview with the BBC before the opening of her new durational work at the Serpentine Gallery, 512 Hours, adding that the public’s cynicism might get in the way of creating “a pure emotional connection”.
If the feedback cards published online are anything to go by, it seems that the dreaded British public is reacting quite nicely so far:
Instead, it’s the British press she should have worried about:
… what I was seeing is what I imagine the open ward of a mental hospital in which the inmates have been heavily sedated must be like.
— Richard Dorment, The Telegraph
It goes without saying that each interaction with the artist will be a unique and subjective experience. You might cry. You might laugh. You might feel bashful. You might feel irritated. But you might do and feel all those things when you see your gynaecologist. This makes neither your gynaecologist a great artist, nor your last smear test a great work of art. — Fisun Güner, The Arts Desk
Abramovic is currently establishing the Marina Abramovic Institute for Long Durational Work in Hudson, New York, which, according to the website, “will be the only institute of its size dedicated to long durational works: works of art that elapse over extreme lengths of time.”
Given the controversy raging over her claim to pioneer the ‘art of nothing’, I thought it’d be worth listing a few actually very long works, so long that they will span across several generations, to set the standards for Marina’s Institute and avoid a further “row over nothing“.
(Turns out I’m not the only one concerned about Marina: some kind souls have set up the Marina Abramovic Retirement Fund of America to help her stop having to make art).
In May 2014, the Team Titanic gallery distributed 100 pinhole cameras to Berlin residents, to be hidden on the streets and take a 100-long-exposure record of the ups and downs of the city’s build environment. Camera custodians have to ensure that the secret location is passed on from generation to generation, until the camera is returned to the organisers – or whoever will be in charge – in May 2114.
From the press release:
WORLD’S SLOWEST SURVEILLANCE CAMERAS WILL SPY ON BERLIN FOR NEXT 100 YEARS
The city of Berlin, currently undergoing the biggest real estate boom since German reunification, has been chosen to pilot a global initiative monitoring urban development and decay over the next century. Instigated by experimental philosopher Jonathon Keats in cooperation with the Berlin-based team titanic gallery, the unauthorized surveillance program will use ultra-long-exposure cameras to continuously document 100 years of municipal growth and decay for scrutiny and judgment by future generations.
This is the latest project by Jonathon Keats, a rather prolific inventor, who previously copyrighted his mind (2003), attempted to genetically engineer God (2004), choreographed a ballet for honeybees (2006), released a mobile phone ringtone based on Cage’s 4’3” titled “My Cage (Silence for Cellphone)” (2007) and created “The Longest Story Ever” (2009) for the cover of a magazine – only 9 words in length but printed to appear at a rate of one per century.
The ‘century camera’ is adapted from the traditional pinhole camera, using black card stock instead of photographic paper to considerably slow down the exposure process. The project is meant to be intergenerational and participatory, and going low-tech is a way to withstand the test of time: the simpler the technology, the more likely it will be usable in the future, whatever the circumstances (this brings to mind the ill-fated floppy disk and VHS tape). The pinhole cameras will act as visual time capsules, capturing timelapse records of the changing cityscape for future generations, but perhaps also influencing planning decisions by placing on the streets a watchful eye that never sleeps.
The process of returning the cameras in 100 years brings up a whole lot of questions: whilst the artist will most certainly be dead, will the gallery still exist? How will any change be communicated to the camera-keepers of the next century? Will the value of the €10 deposit dramatically increase or decrease? Will the euro actually still exist?
Another 100-year long project that has just been launched a few days ago, Future Library is both growing a forest and commissioning writers, to create a completely new body of work – physical and immaterial – for future readers.
Adapted from the press release:
Scottish artist Katie Paterson has launched a 100-year artwork – Future Library – Framtidsbiblioteket – for the city of Oslo in Norway.
A thousand trees have been planted in Nordmarka, a forest just outside Oslo, which will supply paper for a special anthology of books to be printed in one hundred years time. Between now and then, one writer every year will contribute a text, with the writings held in trust, unpublished, until 2114.
The texts will be held in a specially designed room in the New Public Deichmanske Library, Oslo. Tending the forest and ensuring its preservation for the 100-year duration of the artwork finds a conceptual counterpoint in the invitation extended to each writer: to conceive and produce a work in the hopes of finding a receptive reader in an unknown future.
One author a year will be selected by Katie Paterson and the Future Library Trust, with the first to be announced in September 2014.
1,000-second timelapse video of first performance of Longplayer Live at Roundhouse, 2009
Jem Finer is an artist and composer with an interest in “deep time and space, self-organising systems and long-durational processes” (and also, for a bit of pop trivia, one of the founding members of The Pogues).
Between 1995 and 1999, with the support of producers Artangel, he developed and composed Longplayer, a continuously playing and ever-changing score written to last 1,000 years. Longplayer started on 1st January 2000 and can be heard in the lighthouse at Trinity Buoy Wharf, London, at other listening posts (currently in London and San Francisco) and online via a live stream.
Longplayer was conceived by the artist as an exploration of time, “as it is experienced and as it is understood from the perspectives of philosophy, physics and cosmology”. It is based on a 20’20” score for Tibetan Singing Bowls, the ‘source music’, and five transpositions that vary in pitch and duration and are combined in always unique ways, for exactly 1,000 years. For now, this process is computerised, but other methods are considered – mechanical, human – to ensure that the work will survive technological obsolescence.
Ensuring preservation is an integral part of the work, and the Longplayer Trust has been set up “to make the music available to as wide an audience as possible and to research and implement sustainable platforms for Longplayer’s future”.