Impermanent Durations; On Painting and Time

BACKGROUND The Directors of ICA and the BHAC invited the artists to create site sensitive collaborations. Both exhibitions were peer reviewed received research funds from the respective universities, support from the National Arts Council Singapore. The three artist/researchers had previously individually explored how colour, matter, installation, painting and photography offer ways of negotiating our understanding of time and impermanence. They wanted to test what would occur when their ideas were brought together In a collaborative manner in specific venues. CONTRIBUTION Impermanent Durations demonstrated through a series of provocations and reflective experiences how painting could manifest composite experiences of time and place in a site senstive manner, question authorship, reveal local and global interactions and encourage attentive looking . The project investigated the relationship between painting's reflexivity as picture/object and the real space of the gallery. Each venue required different installation solutions, techniques, materiality and works. Each questioned our perceptions and apprehension of how content changes over time. New composites of eastern and western pictorial conventions were combined to expand our experience of time and of painting. SIGNIFICANCE Ongoing research connections between 3 university artschools were esrablished . New artworks, combinations of imagery, hanging solutions were developed . Individual authorship was underplayed, each artist worked cooperatively to create experiences of time/complexity. Public lectures contextualised the exhibition Press coverage from the Straits Times Singapore is attched . A catalogue funded NAC Singapore is in production. A third iteration in 2017 at Lancaster University, will futher develop the findings from the exhibitions.