{"id":46554,"date":"2026-10-19T08:55:02","date_gmt":"2026-10-19T07:55:02","guid":{"rendered":"https:\/\/artizar.es\/exposicion\/hacer-tiempo\/"},"modified":"2026-10-29T11:25:54","modified_gmt":"2026-10-29T11:25:54","slug":"hacer-tiempo","status":"publish","type":"expo","link":"https:\/\/artizar.es\/en\/exhibition\/hacer-tiempo\/","title":{"rendered":"Hacer tiempo"},"content":{"rendered":"\t\t
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ARTIZAR TENERIFE<\/b>_<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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HACER TIEMPO<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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julio blancas
victoria valiente
carlos nicanor
laura mesa lima
marco alom<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Curated by Ramiro Carrillo<\/b><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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OCT, 23. 2026 – DEC, 5. 2026<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Ramiro Carrillo<\/strong><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Eleven hours and five minutes. That is how long it has taken me to write this presentation. Too much, or perhaps too little \u2013 it all depends on whether it\u2019s a good or a bad piece of writing, whether I\u2019ve struggled with it or enjoyed it, whether I\u2019ve written it holed up in my office or whilst wandering through different places and moments in time. There may be many different times within that time, but what is certain is that, whether lost or gained, that time is a part of my life. In her essay on waiting, Andrea Kohler says that life is a span of time between two nothingnesses. That interval \u2014 that parenthesis, as Benedetti put it \u2014 is all we have. It is almost all we have. In fact, it is the only thing we have, and this small fragment of my life that I have devoted to what you are reading \u2014 these eleven hours and five minutes \u2014 has been trapped here, woven between the lines of text.<\/p>\n

Forgive the play on words \u2014 for what is a text, if not a play on words? \u2014 when I say that our time is a crucial issue in our time. What we devote our hours to \u2014 how we experience what we experience \u2014 affects the course of history, now, today, when powerful corporations invest vast amounts of resources in developing highly effective devices and applications whose sole purpose is to hold our attention and thereby ensure that we devote enormous amounts of time to them \u2014 the finite and irreplaceable time of our lives \u2014 which is diligently transformed into money. We have been persuaded, indoctrinated and trained to want to devote our time to ingenious devices and technologies that offer us, among other advantages\u2014there are always other advantages\u2014 the ability to save time, which we normally spend on implementing new devices and technologies that allow us, once again, to save even more time, creating a paradoxical loop whose result is that the more time we save, the less time we have, a process Kohler identifies as the hallmark of our age: the abundance of a lack of time.<\/p>\n

Today, right now, the dark fantasy of Momo<\/em>, the novel by Michael Ende, has come true, the one about the Men in Grey who feed on people\u2019s time, convincing them that they would be more efficient if they made better use of the hours they spent on unproductive activities such as, for example, dancing, chatting or listening \u2014 or, I might add, writing, sculpting or drawing. In many respects, we have been living within that fable for years. In many respects, we have become the stressed, gloomy and defenceless wretches who, in the novel, are caught in the web<\/em> of The Men in Grey. And it is hardly surprising that we are so drawn to and yet utterly bewildered by people who, like the character Momo, manage to escape the techno-capitalist mantra of not wasting time, and insist on taking a break, an insistence which, at first glance, seems like a personal choice, but which, in addition to that, or precisely because of that, becomes a political stance. Because where we spend our time, what we do, what we talk about, what we look at, is a message we send out. It is an act that shapes the world.<\/p>\n

The latest reinvention of capitalism that dominates our times, algorithmic capitalism, has accelerated the acceleration of life that Nietzsche was already complaining about an eternity ago, which means that today, just as in Momo, <\/em>pausing is something counter-cultural, an aberration, an act of defiance against the system. Pausing, like thinking, is for losers. Speed, virality and performance are the hallmarks of our times. In the arts, as in life, there are those who celebrate this new worldview, those who resign themselves to it, and those who take their own time, as do, I believe \u2014 and this is where I\u2019m heading \u2014 artists such as Marco Alom, Julio Blancas, Laura Mesa Lima, Carlos Nicanor and Victoria Valiente. Artists who, with distinct and divergent aims, methods and practices, operate by rejecting the dialectic of efficiency and position themselves out of step. Putting themselves in a position, I would say, that is out of step with the times. They create their own works. They devote \u2014 many \u2014 hours to their pieces. They work harder to produce less. In other words, they defy the techno-capitalist imperative, and they do so not as a vindication of craftsmanship \u2014 I don\u2019t know if that\u2019s actually important to anyone, but it is not important here \u2014 but because, each in their own way, they immerse themselves in the deliberate and active task of making time meaningful, which allows me to assert, only half-poetically, that what these artists do is make time.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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I hope I can make myself understood on this point: this isn\u2019t about labour-intensive work. Many artists create labour-intensive, meticulous works that require dedication and are highly commendable. But that is not what this is about \u2014 or at least not what it is about right now. This exhibition presents five artists who propose processes that are unnecessary, inefficient and, in a sense, pointless; processes that could be carried out more quickly, more easily and more profitably. Which could be outsourced. This is about placing time within the works, at the heart of the works \u2014 within their \u2018linguistic structure\u2019 \u2014; a surplus, unnecessary time, which stems not so much from a formal necessity of the piece as from an ethical stance on the part of the artist. I am therefore speaking of something that is superfluous, that stands out; a remnant \u2014 I am referring to what Barthes called a \u2018supplement\u2019, a \u2018semiotic supplement\u2019\u2014 which suggests that, in these works, time is an element of their language. It generates meaning.<\/p>\n

Let me clarify even further. I am not talking about production time \u2014 such as the time it takes a printer to print a sculpture or an algorithm to generate a text \u2014 but rather about the time of life, the lives of the artists, an inefficient time which, for that very reason, becomes significant. A time that necessarily functions as a performative component within the work, by virtue of which the work is configured not so much as an object but as an act, which leads us to think that these works are, among other things \u2014 such as the specific concerns of each artist \u2014 a parenthesis. They are, as I said before, a \u2018making of time\u2019, or \u2018making a time\u2019, which is recorded, knotted, interwoven, within the body of the work, in its materiality.<\/p>\n

The effect produced by a work of art \u2014 call it \u2018meaning\u2019, if you prefer \u2014 is a symbolic construct derived from the combination of many elements. What this text, for example, produces in you is the result of interweaving the meaning\u2014literal, figurative or emotional\u2014of the written words with other signifying attributes, including the context and the personal situation in which you are reading this, or the very materiality of the sheet of paper you are holding in your hands right now. It follows that materiality \u2014 I am not referring here to this sheet of paper, but to the works of art I am discussing \u2014 which, as we have seen, possesses a meaningful performativity, has the potential to connect two temporalities: the lifetime of the person who has carried out their work, and that of the other person who devotes a little of their time to observing what has been created. And when that connection is made \u2014 and only when it is made \u2014 that is when we say that a work of art truly matters.<\/p>\n

And it must be said that it is important, in various ways, when a work of art matters; by which I mean, in this case, that time is relative \u2014 as you well know \u2014 not only in theoretical physics but also in experience. There are many times within our own time. We experience time differently depending on the person, our emotions and the moment. Life moves faster or slower, and if we understand that the contemporary acceleration of life, the fragmentation of our sense of time into an infinite number of small tasks, our determination to give our time to abstract and ubiquitous entities that turn it into money, if we understand that all of this robs us of time, we can then deduce \u2014 and here, as I have time, I shall allow myself a touch of poetic licence \u2014 we can deduce, then, that pausing, thinking, and taking one\u2019s time is a way of prolonging life.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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