![]() ![]() Taking this idea of the time machine, time travel, and perhaps even time itself as an instance of ‘the science of imaginary solutions’, the exhibition is divided thematically across the galleries and includes works by John Cage, Martin John Callanan, Jim Campbell, Edgar Cleijne and Ellen Gallagher, Mat Collishaw, Ruth Ewan, Tehching Hsieh, On Kawara, the Lumière Brothers, Chris Marker, Kris Martin, Georges Méliès, Manfred Mohr, Melvin Moti, Nam June Paik, Katie Paterson, Elizabeth Price, Sun Ra, Raqs Media Collective, Meekyoung Shin, Maja Smrekar, The Otolith Group, Thomson & Craighead, Mark Wallinger and Catherine Yass. ![]() #Lisence key chronos soho notes movieįilm work ranges from George Méliès’ A Trip to the Moon (1902), an iconic silent movie which follows a group of astronomers as they explore the moon, to Thomson & Craighead’s The Time Machine in alphabetical order (2010), a complete rendition of the 1960s film version of the Wells’ novella re-edited into alphabetical order. Sculptural work includes Mark Wallinger’s Time and Relative Dimensions in Space (2001), a polished stainless steel version of Dr Who’s ‘Tardis’ police box that simultaneously disappears into the space-time continuum and reflects its own surroundings, and Ruth Ewan’s We Could Have Been Anything That We Wanted to Be (2012), a decimal clock which divides the day into ten (rather than twenty-four) periods, echoing a bold 18th century French Republican attempt to redefine and rationalise the day. The exhibition is accompanied by a catalogue, designed by Herman Lelie, featuring an extended Introduction by the exhibition’s curator and a translation of Jarry’s How to Construct a Time Machine, together with essays by Dutch cultural theorist and video artist Mieke Bal and radical philosopher Peter Osborne. The exhibition will be supported by a range of related events including tours by the curator and artists, seminars, academic conferences, and film screenings. This essay explores the bodily nature of Michel Foucault’s heterotopias as a means of delving into the complexities of access to and representation in museums today. Informed by contemporary debates around postcoloniality and museum histories and practices, this essay is situated at the ambiguous intersection of embodied experience, spatial theory, and physical museum spaces. Predominately considered in relation to spatial difference up until now, adding a corporeal element to the analysis of the heterotopia both connects the theory to Foucault’s accompanying lecture, “The Utopian Body,” and provides a bridge between this concept and pertinent issues of memory, identity, agency, and the plurality of voices that orbit museum collections. In this respect heterotopia is a space of possibility as well as a reminder of boundaries, borders, and limitations. ![]()
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