LA COULEUR DU TEMPS
There is an odour beyond colour, a touch in the gaze, a taste in the texture. What is this quality that exceeds the first approach of an object, the quality that moves through the form of an object but pierces experience, opening the object to its force? How to speak of the duration that radiates beyond the object? How to touch the becoming-work of the work, its implicit movement?
Three textiles: two silks, one cotton, woven in Tunis.
Five months to pull the threads, a work of subtraction. And then a return of the threads that cuts across
the grid, giving the textile back its spine, this one oriented by the colour of time.
One spice: turmeric. Many natural mordants, many shades.
Four days: a synesthesia felt in the duration.
Creations / Parcours
Erin Manning holds a University Research Chair in Relational Art and Philosophy in the Faculty of Fine Arts at Concordia University (Montreal, Canada). She is also the director of the SenseLab (www.senselab.ca), a laboratory that explores the intersections between art practice, philosophy and the political. Current art projects are focused around the concept of minor gestures in relation to colour, movement and emergent collectivity. Recent exhibitions include Stitching Time at the Sydney Biennale (2012) and the Moscow Biennale (2013), The Smell of Red (with Nathaniel Stern) at Glasshouse NY (2014) and the Museum of Vancouver Museum (2015) and Threadways at the Museum of Fine Arts Ghent (2016, 2017).
Publications include The Minor Gesture (2016), Always More Than One: Individuation’s Dance (2013), Relationscapes: Movement, Art, Philosophy (2009) and, with Brian Massumi, Thought in the Act: Passages in the Ecology of Experience (2014).