O tempo como medi[a]dor estético: criação e receção da obra

Time presides, directs the existence of the work, in the person of the subject-author, even when it is not evident in a first aesthetic reception. In contemporary art, despite the diversity of languages that assist it and the wear and tear (and controversy) that the concept carries, time takes hold and settles down. The manifested artistic assumptions, the meanings that define it, correspond to the role, relevance and context in which the author intends it. Time is simultaneously cause and effect, weighted through ideas and materialities, devices and evanescences that make it possible to see, hear, enjoy. Some works by artists are analyzed that: 1. Develop their production under the rationalizing / sense-perceptive aegis of the idea of time; 2. Establish (or not) the idea as a hinge, name and / or even intend to identify it. 3. They seek to apprehend, differentiate and underline the ways in which, as a receiver / subject, it points out or intuitively, in aesthetic terms. Still, to what extent, what is the dimension and modalities, in time is it treated (or is it substance): slowness, stillness, duration, delay, instant, ephemerality, fleeting precariousness; how it is transferable, interchangeable, perceptible and how it interferes and extrapolates beyond the perimeter of viso-verbal perception.