Series of 6 drawings
Color pencils on cotton paper
The time of work, of the process of the machines, the time over which the contemporary subject has perceived any type of experience or possibility, is the accelerated time of the experience of modernity. That rhythm of life that the subject understands as a "rhythm of work", as a daily routine, has been internalized in such a way that it has made the times of the production chain its own. A time less and less his, a simple time, of succession and of accelerated repetition of oneself.
In a way, it could be said that modernity established a unique time of production and technology a time based on continuity and speed. In other words, the rhythm of production eliminates everything that does not "serve" that cannot be "sold" or that "prevents" it from continuing to produce: affections, emotions, desires, everything that cannot be marketed.
Capital-time and hegemonic temporality are the key concepts of the piece The Western Hour, which proposes to question this temporality by disfiguring and re-elaborating the experience of linear, standardized and monochrome time through a series of thirteen drawings, each equivalent to thirteen anonymous people. and unknown people who for a week traced their various actions and movements in the interior of the cities where they are; where each color represents the constant repetition of the same action.
Each drawing supposes a geometric abstraction, composed of various colors that respond to actions and movements, where the dimension of time is a weapon of resistance to established time, the hegemonic regimes of temporality, resisting time through the introduction of another weather.
Intervention for exhibition "Sana Sana" in the Gallerygallery gallery in within the framework of the Art Lima Gallery Weekend.