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David Lamelas
tempus agere est – St. Gallen, 2007, 16 mm film, 13 min, Courtesy: Jan Mot Gallery, Bruxelles Gallery – Maccarone, New York – Sprüth Magers Gallery – Munich/London, photo: Simon Jaquemet
aspectelor lingvistice ale timpului: Lamelas anticipeazæ intuitiv ceea ce George
Lakoff øi Mark Johnson au demonstrat în mod strælucit în analiza lor din Metaphors
We Live By [Metafore prin care træim]; oricum, academicienii au formulat doar dupæ
un deceniu ceea ce artistul cerceta de ceva vreme prin propriile sale instrumente.
În orice caz, Lakoff øi Johnson formuleazæ surprinzætor de exact ceea ce Lamelas
face la nivel vizual, øi asta færæ sæ fi øtiut unii de ceilalfli. Din moment ce timpul poate
fi cuantificat în termenii muncii, iar de obicei, într-o societate industrialæ, chiar aøa
se întîmplæ, obflinem fundamentul metaforei „TIME AS RESOURCE“ [„TIMPUL CA
RESURSÆ“]:
TIMPUL e un fel de SUBSTANfiÆ (abstractæ)
Poate fi cuantificat destul de precis
Îi poate fi atribuitæ o valoare per unitate
Serveøte un anume scop
Se epuizeazæ progresiv pe mæsuræ ce-øi serveøte scopul. 1
Cuvintele în italice aratæ clar cæ nofliunea noastræ de timp se defineøte prin activitate,
în general legatæ de muncæ, fapt ce poate fi rezumat în ecuaflia: timpul egal muncæ
egal resursæ. Dar dacæ Lamelas hotæræøte, la nivel tematic, sæ filmeze, de pildæ, colflul
stræzii unei staflii de metrou din New York, determinantul comun imediat al muncii
nu este unul dat, ci mai degrabæ arbitrar øi, simultan, extrem de multifafletat. Dacæ
dorim sæ înflelegem øi sæ apreciem conceptualismul „pragmatic“ al lui David Lamelas,
trebuie sæ ne læsæm purtafli de frumuseflea simplitæflii structurale. Aøa cum, cu
them. In order to define an elapsed time period, we commonly set
a beginning and an end to this purpose. Primal to the replication of
this procedure do we only then sense somehow the idea of duration.
Lamelas’ films of the series Time As Activity, lasting between 10 and
55 minutes, are composed by several sequences from a few seconds
to a 4 minutes duration, each of them marked at the beginning
and the end of the moment it has been recorded, for example
“Düsseldorf, 4:31 p.m.“ The artist’s investigating our notion of time
examines the intersections as well as the contradictions intrinsic to
its definition, partly caused by the visual, partly by the linguistic
constituents. Let us draw our attention first to the linguistic aspects
of time: Lamelas intuitively anticipates what George Lakoff and
Mark Johnson brilliantly demonstrated in their analysis Metaphors
We Live By; however, it was only a decade later that the academicians
formulated what the artist was already researching in for quite
a while with his own tools. In any case, Lakoff and Johnson formulate
strikingly well what Lamelas does on the visual level and this
is without knowing from each other. Since time can be quantified
in terms of labour and it usually is, in an industrial society, we get
the basis for the “TIME AS RESOURCE“ metaphor:
TIME is a kind of (abstract) SUBSTANCE
Can be quantified fairly precisely
Can be assigned a value per unit
Serves a purposeful end
Is used up progressively as it serves its purposed. 1
The words in italics clearly show that our notion of time is defined
by activity broadly related to labour, and which is summed up in
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