{"id":46189,"date":"2000-01-01T00:00:00","date_gmt":"2000-01-01T00:00:00","guid":{"rendered":"https:\/\/formacionsimple.com\/revistasculturales\/archivos\/46189"},"modified":"2026-03-10T08:34:54","modified_gmt":"2026-03-10T08:34:54","slug":"la-obsesion-del-tiempo-the-obsession-of-time","status":"publish","type":"post","link":"http:\/\/formacionsimple.com\/revistasculturales\/la-obsesion-del-tiempo-the-obsession-of-time\/","title":{"rendered":"La obsesi\u00f3n del tiempo \/ The obsession of time"},"content":{"rendered":"

Autor:<\/strong> Vivianne Lor\u00eda<\/p>\n

Revista:<\/strong> L\u00c1PIZ Revista Internacional de Arte n\u00ba 216<\/p>\n\n

BIENNALE D\u2019ART CONTEMPORAIN DE LYON 2005<\/strong><\/p>\n

Este a\u00f1o, como en 2003, la Bienal de Lyon ha mantenido su escala humana, desperdig\u00e1ndose muy controladamente por cinco puntos de la ciudad, y conservando como coraz\u00f3n La Sucri\u00e8re. Es innegable que la comisi\u00f3n de la curadur\u00eda del proyecto a los todav\u00eda directores del Palais de Tokyo de Par\u00eds, Nicolas Bourriaud y J\u00e9r\u00f4me Sans, levantaba expectativas de un h\u00e1lito de modernez <\/em>, quiz\u00e1s de \u201cruptura\u201d, que podr\u00eda barrer la a veces excesiva contenci\u00f3n de la Bienal. Los comisarios, no obstante, no han podido ofrecer ninguna novedad remarcable, m\u00e1s all\u00e1 de su adscripci\u00f3n evidente a la moda del dibujo y de la est\u00e9tica del c\u00f3mic, propia del circulillo m\u00e1s \u201cin\u201d del mundo del arte contempor\u00e1neo. <\/p>\n

Los comisarios han titulado su proyecto Exp\u00e9rience de la dur\u00e9e <\/em>; literalmente, \u201cla experiencia de la duraci\u00f3n\u201d. Pero el rastro de la coordenada temporal solo puede deducirse de las obras audiovisuales, y quiz\u00e1s de las instalaciones y penetrables, que, obviamente, exigen unos minutos de tr\u00e1nsito a trav\u00e9s del espacio que ocupan. No encontramos, de esta forma, mayores sutilezas en la interpretaci\u00f3n del \u201ctiempo\u201d en esta propuesta. Cunde la literalidad, lo que no significa que sea f\u00e1cil en todos los casos descubrir el rastro de la temporalidad en las distintas piezas seleccionadas. Algunas presentan textos diversos, que exigen detenerse en la lectura, hecho que puede tornarse irritante; otras requieren la concentraci\u00f3n del espectador en la evoluci\u00f3n de la imagen. Es el caso de los v\u00eddeos y films, que muchas veces no desarrollan argumento ninguno. Tambi\u00e9n encontramos propuestas que demandan la experimentaci\u00f3n del espacio, debiendo atravesarlas para alcanzar su sentido \u00faltimo. Finalmente, hallamos obras que nos exigen un tiempo para la asimilaci\u00f3n, en ocasiones porque debemos descubrirlas y aislarlas de su contexto ajeno al arte, o bien porque debemos esforzarnos en su comprensi\u00f3n visual o conceptual. En todos los casos, es evidente que los comisarios han hilado muy fino el concepto del tiempo. <\/p>\n

Ateni\u00e9ndonos al inter\u00e9s espec\u00edfico de las obras presentes en esta edici\u00f3n de la Bienal, al margen del discurso curatorial, podemos destacar algunos proyectos encontrados en las tres sedes principales. As\u00ed, en La Sucri\u00e8re, se puede disfrutar del divertido penetrable de Martin Creed Work N\u00ba 329: Half the Air in a Given Space <\/em>, que consiste en una habitaci\u00f3n que el espectador ha de atravesar salvando el mar de globos fucsia que la copa. Al salir de este espacio, nos encontramos con la inquietante Escarlate <\/em>, de Virginie Barr\u00e9, una habitaci\u00f3n carmes\u00ed entre cuyas l\u00e1mparas de globo blancas se sostiene el cuerpo inerte de una mujer, maniqu\u00ed vestido de rojo del que se presume ha salido el chorro de sangre que se simboliza en el suelo por una superficie rub\u00ed sobre la que se observan dos zapatos de tac\u00f3n negros. La m\u00fasica de los a\u00f1os cuarenta que suena de fondo acent\u00faa el cariz melanc\u00f3lico de la escena. Otro penetrable remarcable es el de Ann-Veronica Janssens, lee 12!, <\/em> un habit\u00e1culo inundado con una espesa neblina verdosa. Por su parte, Sa\u00e2dane Atif presenta una atractiva obra sonora, Power Chords <\/em> (2005), integrada por once guitarras el\u00e9ctricas con sus respectivos amplificadores, \u201ctocadas\u201d autom\u00e1ticamente gracias a un programa de ordenador y un sistema mec\u00e1nico. <\/p>\n

Volviendo al aspecto l\u00fadico, y acentuando la exigencia de involucrarse planteada al espectador, la obra 25 Carioca N.02 A Volta Dos Tr\u00eas Cavaleiros <\/em>(1994), de Rivane Neuenschwander, est\u00e1 constituida por ocho m\u00f3dulos a modo de p\u00e1ginas donde se observan numerosos \u201cbocadillos\u201d que el espectador puede rellenar con leyendas de su autor\u00eda. Esperp\u00e9ntica resulta la propuesta ambiental y audiovisual de Fabien Verschaere, titulada Magic Travel Take Away <\/em> (2005), verdadera ocurrencia adolescente marcada por la influencia del manga y el videoclip. A gran distancia de esta tonta pieza se encuentra el punzante proyecto Adorno Was Wrong With His Ideas About Art <\/em> (2005), de Erwin Wurm, consistente en varias planchas de madera o conglomerado con distintas instrucciones para llevar a cabo sus famosas esculturas de minuto. <\/p>\n

Del cap\u00edtulo audiovisual en La Sucri\u00e8re, destacan el film protagonizado por marionetas This Is Not A Time For Dreaming <\/em>, de Pierre Huyghe, y, aunque solo como referente hist\u00f3rico, el film de Andy Warhol Sleep <\/em>(1963), que muestra a un hombre durmiendo, sencillamente. Relacionado con \u00e9ste, el film de Yoko Ono, Smile – Film N\u00ba 5 <\/em> (1968), exhibido en el Institute d’Art Contemporain de Villeurbanne, se concentra tambi\u00e9n en un acto cotidiano intrascendente, mostrando de forma ralentizada a un sonriente John Lennon. Tambi\u00e9n en esta sede de la Bienal, la animaci\u00f3n por ordenador My Birds… Trash… The Future <\/em>, de Paul Chan, resulta llamativa, con su proyecci\u00f3n en dos caras de la pantalla de un paisaje desolador, apocal\u00edptico, su esp\u00edritu rabiosamente anclado en la est\u00e9tica del videojuego. Igualmente, puede destacarse en el Institute la intervenci\u00f3n espec\u00edfica de Kendell Geers, On the Declamation and Preemenence of the Female Sex <\/em>, cuyo inter\u00e9s sobrevive a las ataduras del enrevesado discurso en que se basa. <\/p>\n

En el Mus\u00e9e d’Art Contemporain de Lyon, sobresale la obra Seven Minutes Before <\/em>(2004), de Melik Ohanian: siete videoproyecciones sincronizadas de gran potencia visual. La instalaci\u00f3n con efectos sonoros y crom\u00e1ticos de Brian Eno, Quiet Club <\/em>, tambi\u00e9n resulta seductora, aunque solo sea en el plano sensorial. En la sala Le Rectangle, Wim Delvoye expone una gran serie de piezas bidimensionales con etiquetas publicitarias que muestran una vaca que r\u00ede, y en Le Fort Saint-Jean pueden verse distintos films experimentales. <\/p>\n

La Bienal de Lyon ha cumplido, as\u00ed, otra edici\u00f3n m\u00e1s sin apostar demasiado, y sin arriesgar, por tanto, su esp\u00edritu contenido. <\/p>\n

_________________________________________________________<\/p>\n

The obsession of time <\/em><\/p>\n

This year, as in 2003, the Lyon Biennial has maintained its human scale, spreading out, in a very controlled manner, around five points in the city, and preserving La Sucri\u00e8re as its centre point. It is undeniable that the fact that the project was commissioned to the directors of Paris’ Palais de Tokyo, Nicolas Bourriaud and J\u00e9r\u00f4me Sans, created expectations of a breath of modernity <\/em>, perhaps of \u201crupture,\u201d that could sweep away the sometimes excessive contention of the Biennial. Nevertheless, the curators have not been able to contribute any remarkable innovations, beyond their evident attachment to the trend that favours drawing and comics aesthetics, typical of the \u201ctrendiest\u201d circle of the contemporary art world. <\/p>\n

The curators has entitled their project Exp\u00e9rience de la dur\u00e9e <\/em>; literally, \u201cExperiencing duration.\u201d But the trace of the time coordinate can only be deduced in the audiovisual works, and perhaps in the installations and penetrable works, that, obviously, require a few minutes of strolling through the space they occupy. Consequently, there are no great subtleties regarding the interpretation of \u201ctime\u201d in this proposal. Literality spreads through this project, although this does not mean it is always easy to find the trace of temporality in the different pieces selected. Some present diverse texts that one has to stop and read, something that can become irritating; others require the viewer to concentrate on the evolution of the image. This is the case of the videos and films, which often do not develop a story line of any kind. There are also proposals that require an experimentation of space, with viewers having to walk through the areas to understand the ultimate meaning. Finally, there are other works that request time for assimilation, sometimes because they have to be discovered and isolated from a context that is foreign to art, and others because they require an effort for their visual or conceptual comprehension. In all cases, it is evident that the curators have split hairs with the concept of time. <\/p>\n

Considering the specific interest of the works present at this edition of the Biennial, apart from the curatorial discourse, we can point out some projects located in the three main venues housing the exhibitions. Thus, in La Sucri\u00e8re, viewers can enjoy Martin Creed’s amusing penetrable exhibit Work N\u00ba 329: Half the Air in a Given Space <\/em>, a room that viewers have to cross jumping over the sea of fuchsia balloons that crowds it. On exiting this space, we encounter Virginie Barr\u00e9’s disturbing Escarlate <\/em>, a crimson room where an inert female body appears among white balloon lamps, a mannequin in a red dress that one supposes the blood has poured from, blood that is symbolised on the floor by a ruby surface on which there is a pair of black high-heel shoes. Music from the 1940s is played in the background, emphasising the scene’s melancholic nature. Ann-Veronica Janssens’ lee 12! <\/em> is another remarkable penetrable work. An interior area flooded by a thick greenish mist. Conversely, Sa\u00e2dane Atif presents an attractive sonorous work, Power Chords <\/em>(2005), composed by eleven electric guitars and their corresponding amplifiers, \u201cplayed\u201d automatically thanks to a computer programme and a mechanical system. <\/p>\n

Returning to the entertainment aspect, and accentuating the request for involvement, Rivane Neuenschwander’s work 25 Carioca N.02 A Volta Dos Tr\u00eas Cavaleiros <\/em>(1994) is composed by eight modules that act as pages, presenting a series of \u201cbubbles\u201d that viewers can complete with the legends they desire. Fabien Verschaere’s environmental and audiovisual proposal, entitled Magic Travel Take Away <\/em>(2005), seems grotesque, a genuinely adolescent idea strongly influenced by manga cartoons and music videos. At a great distance from this silly piece, we find Erwin Wurm’s biting project entitled Adorno Was Wrong With His Ideas About Art <\/em>(2005), consisting in several wood or conglomerate boards with different instructions to create his famous minute sculptures. <\/p>\n

As regards audiovisual works, the most important in La Sucri\u00e8re are a film acted by puppets This Is Not A Time For Dreaming <\/em>, by Pierre Huyghe, and, albeit only as a historical reference, Andy Warhol’s film Sleep <\/em>(1963), that simply shows a man sleeping. Related to this feature, Yoko Ono’s film, Smile – Film N\u00ba 5 <\/em> (1968), screened at the Institute d’Art Contemporain de Villeurbanne, also focuses on a trivial everyday activity, showing John Lennon smiling in slow-motion. This venue also accommodates the computer animation My Birds… Trash… The Future <\/em>, by Paul Chan. An attractive proposal, using both sides of the screen to project a desolate, apocalyptic landscape, with a spirit fiercely anchored in the videogame aesthetics. Also accommodated at the Institute, the site-specific intervention by Kendell Geers, On the Declamation and Preemenence of the Female Sex <\/em>, is another interesting piece, despite the ties of the complicated discourse it is based on. <\/p>\n

At the Mus\u00e9e d’Art Contemporain de Lyon, one of the most notable pieces is Seven Minutes Before <\/em>(2004), by Melik Ohanian: seven synchronised video-projections bestowed with major visual strength. The installation with sound and colour effects by Brian Eno, Quiet Club <\/em>, is also alluring, albeit only on the sensorial plane. In the room Le Rectangle, Wim Delvoye exhibits a large series of two-dimensional pieces with advertising labels showing a laughing cow, and different experimental films are screened at Le Fort Saint-Jean. <\/p>\n

Thus the Lyon Biennial has seen the passing of another edition, without risking much and, therefore, without jeopardising its self-controlled spirit. <\/p>\n

Translation: Laura F. Farhall <\/p>\n","protected":false},"excerpt":{"rendered":"

Autor: Vivianne Lor\u00eda Revista: L\u00c1PIZ Revista Internacional de Arte n\u00ba 216 BIENNALE D\u2019ART CONTEMPORAIN DE LYON 2005 Este a\u00f1o, como en 2003, la Bienal de Lyon ha mantenido su escala humana, desperdig\u00e1ndose muy controladamente por cinco puntos de la ciudad, y conservando como coraz\u00f3n La Sucri\u00e8re. Es innegable que la comisi\u00f3n de la curadur\u00eda del […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[10],"tags":[444,351,400],"class_list":["post-46189","post","type-post","status-publish","format-standard","hentry","category-articulos","tag-arte","tag-articulo-html","tag-lapiz-revista-internacional-de-arte"],"acf":[],"_links":{"self":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46189","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/comments?post=46189"}],"version-history":[{"count":1,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46189\/revisions"}],"predecessor-version":[{"id":48414,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46189\/revisions\/48414"}],"wp:attachment":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/media?parent=46189"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/categories?post=46189"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/tags?post=46189"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}