Running Time refers to the moment that is needed to process thoughts. In current times of media- and information overload, creative time is scarce. Yet it is exactly this time in which a thought can solidify into a valuable idea, where a gut-feel or an afterimage can be at the start of a creative process. Running time is needed for the mind to associate freely, to let latent ideas surface.
Similar to cinema, where running time indicates the full length of a film, this exhibition offers that indispensable time to a generation of artists who are interested in storytelling, myth, fact and fiction. The exhibition plays with the cycles of knowing and becoming, and Marres Currents #4: Running Time acts as a framework to be continued with the stories of the artists. The duration of the exhibition is perceived as a timeline in which there is room from transition, experiment, and prospects.
This generation of artists shares an interest in unraveling stories, whether true or fictionalized; and in their work, they refer to cinematic time and narrative from different perspectives. Running Time entails different possibilities and methods for the artwork. Neither form, context, nor spectator are fixed or stable: such relations must be constantly (re) negotiated. In this way, the exhibition becomes a space of experience, a discursive space that moves into a space for thinking, creating and rehearsing, where the audience becomes an indispensable part of the exhibition.
From very different angles, the artists explore the creative, expressive and narrative capacities of the every-day. From the rhythm of quotidian events in the work of Thomas Wachholz; the potentialities in the (re)reading of archives by Tim Bruggeman or Tessa Groenewoud; the suggestive nature of myths and story-telling in the case of Miriam Sentler, Kiki Goossen, and Lina & Miriam [last names]; or evocative nature of movies, music and pop-culture like Reiner Vranken and Ralph Collier. This narrative approach intends not to focus only on an object-oriented display, but opens it up to immaterial practices, like the performance by Caroline Bosc or Puck Vonk, or the reading room from Ties van Dijk.
Barbara Cueto & Bas Hendrikx