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Ever since Gramsci's famous reformulation, there has been increased scrutiny of the term ‘interregnum' across the cultural field. Yet while extensively discussed as a political, sociological or historical concept, its relation to a visual vocabulary of art and design is less noticed. This article reconsiders the interregnum in light of the close relation between art and political representation that emerges during periods of crisis. More specifically, it considers how the interregnum as an unsettled process - related to, but distinct from, the revolutionary transfer of sovereignty - can be expressed through the time-based processes of performance art. The focus is the English multi-media and performance artist Stuart Brisley, whose work explicitly references Gramsci's notion of the ‘interregnum’, often with respect to the British monarchy. It concludes by considering how Brisley's performances permit us to locate the historical and contemporary role of the artist in relation to sovereignty and its images.

Time against the sovereign power: the interregnum in Stuart Brisley’s performance art