Time flies like an arrow, fruit flies like a banana
Curator: Valentinas Klimašauskas
Organized by: Tinos Quarry Platform residency program and Cultural Foundation of Tinos
Dorota Gaweda, Egle Kulbokaite, Carl Palm, Pakui Hardware, Mikko Kuorinki, Goda Budvytyte, Lorenzo Cirrincione, Jennifer Teets
Cultural Foundation of Tinos
27.07.— 31.10.2015






Curator: Valentinas Klimašauskas
Organized by: Tinos Quarry Platform residency program and Cultural Foundation of Tinos
Dorota Gaweda, Egle Kulbokaite, Carl Palm, Pakui Hardware, Mikko Kuorinki, Goda Budvytyte, Lorenzo Cirrincione, Jennifer Teets
Cultural Foundation of Tinos
27.07.— 31.10.2015



Dorota Gaweda, Turritopsis dohrnii 2015



Dorota Gaweda, Ophidians 2015





Egle Kulbokaite, Hypersea, Hypersea I To escape the banal terrestrial like angels 2015

Pakui Hardware, Dorota Gaweda






Mikko Kuorinki

Carl Palm


Jennifer Teets, The contingency of cheese (Tinos) 2015







Pakui Hardware, Mei Piech Chi 2015

Lorenzo Cirrincione
photography; Natasha Papadopoulou
courtesy of the artists and Cultural Foundation of Tinos
Time was once measured by running water, sand,
and, besides flying like an arrow, it was running like
a river; possibly, as a river of sand. Your tablet’s
touchscreen, the one that shows, but also waists our
time, may be produced from the same sand.
After he became blind, the Argentinean writer
Jorge Luis Borges visited the pyramids in Cairo.
There he scooped up a handful of sand and sifted it
through his fingers. When asked what he was doing
he replied, “I am rearranging the Sahara.” Like the
internet or any other vast amount of information or
material, the desert and the ocean have no beginning
or end, and may be called hyperobjects as coined
by Timothy Morton. Hyperobjects are so massively
distributed in time and space that they transcend
spatiotemporal specificity, such as global warming,
Styrofoam, or radioactive plutonium. Living with,
between, or even inside the aforementioned
hyperobjects—like how plankton lives in the ocean,
or how sand runs in the desert and in one’s palm,
we also rearrange the real and metaphorical Sahara
and oceans, don’t we?
If you prefer, another example comes to mind—
the weather. In physics and other sciences, a
nonlinear system is a system where the output is not
directly proportional to the input. In a similar
manner, the exhibition was curated by non-linear
dynamics: algae, yeast, calendar, the moon, Venus
and Jupiter, making a perfect triangle in the sky
just before the opening, showering in marble
quarries, a referendum, goat’s mating season, the
wind, and many more objects and factors to come.
“To ask a human being to account for time is
not very different from asking a floating fragment
of plankton to account for the ocean. How does
the plankton bank the ocean?” asks Raqs Media
Collective while being concerned about the qualities
of time but also making an eco-poetical connection
between plankton and humans. They continue:
What is time?
What is the time?
The time is of your choosing.
The time is not of your choosing.
The time is out of joint.
The time has come.
The time needs changing.
The time has gone.
The time has come and gone.
The time has flown.
The time is not convenient.
The time is at hand.
The time has been spent well.
The time has been wasted.
The time is awkward.
The time is ripe.
The time has passed so swiftly.
The time is now.
What is the time?
Looking from the perspective of the New York
Stock Exchange, which is trading and crashing in
nanoseconds, a month spent on a Cycladic Island,
Tinos, may be compared to a significantly longer
period than a month somewhere else. Similarly,
from the perspective of a fragment of plankton,
a month for the artists on Tinos Island might
disappear as soon (or as long) as a nanosecond on
Wall Street.
The residency and exhibition does not ask the
artists or the audience to be accounted for the time
spent, but seeks to create artistic and poetic links
between the organic and the non-organic, a part
and the whole (as in plankton and the ocean), and
constructs distinct perspectives to look at ourselves,
not to mention the time and space from the point
of view of an ophidian, a voting ballot from the
last referendum, or an immortal jellyfish Turritopsis
dohrnii, just to cite another example.