By Amelia Barikin
During the last twenty years, French artist Pierre Huyghe has produced an extraordinarybody of labor in consistent discussion with temporality. Investigating the potential for a hypotheticalmode of timekeeping--"parallel presents"-- Huyghe has researched the structure of theincomplete, directed a puppet opera, based a brief university, tested a pirate televisionstation, staged celebrations, scripted eventualities, and journeyed to Antarctica looking for amythological penguin. during this first book-length paintings ancient exam of Huyghe and his work,Amelia Barikin strains the artist's continuous negotiation with the time codes of contemporarysociety. supplying exact analyses of Huyghe's works and drawing on large interviews withHuyghe and his affiliates, Barikin unearths in Huyghe's initiatives an alternative frame of mind abouthistory--a "topological historicity" that deprograms (or reprograms) temporal formats.Huyghe as soon as acknowledged, "It is thru the montage, the way in which we mix and relate photographs, that we cancreate a illustration of an occasion that's might be extra distinct than the development itself."Barikinoffers pioneering analyses of Huyghe's lesser-known early works in addition to sustained readings oflater, seriously acclaimed tasks, together with No Ghost only a Shell (2000),L'Expédition scintillante (2002), and A trip That Wasn't(2005). She emphasizes Huyghe's recommendations of "freed time" and "the openpresent," within which something may possibly take place. Bringing jointly an eclectic array of matters andcharacters--from moon strolling to situationist practices, from Snow White to Gilles Deleuze--Parallel provides bargains a hugely unique account of the riding forces behindHuyghe's paintings
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14 The Architecture of the Incomplete and the Open Present “Chantier permanent,” says Huyghe, “is about the present. ”15 If Chantier permanent was about the present, it was not a present bounded by amnesia, a moment shortchanged by history. ”19 To counter this eradication, Roche has stressed the importance of “making with” (rather than “making do”), a maxim that Huyghe has championed as well. “Making with” promotes a very different engagement of the past than, for example, a prefabricated construction, or even a printed photograph.
Indb 46 8/23/12 10:30 AM 47 The Open Pr esent Negri’s paradigm of freed time is related directly to ontology. It is designed to address the problem, for the subject, of reclaiming lived time. At first glance, it would seem that Huyghe and Negri share certain critical agendas. However, unlike Negri’s model for liberation, Huyghe’s freed time is not a blueprint for revolution. Time for Revolution insists on counteraction. Negri espouses the critical role of “negative labor” and the need for alternative production models in disabling subsumption.
7 Pierre Huyghe, Little Story, billboard, Amsterdam, 1995. 5 cm, 1999. 50 In the gallery, the dailies and magazines were exhibited in a box on the floor. The three letters interpreting these publications were handwritten in French, and presented with their envelopes. Each began with “Cher Pierre . . 51 Everything was in the present tense. A decade after this exhibition, I reassembled the various components of Through in the back room of Roger Pailhas’s empty gallery in Marseille. With its formal simplicity, Through recalls the formal presentation of Douglas Huebler’s propositions or On Kawara’s postcards.