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Time after time: William Kentridge's Heterochronies

Research output: Contribution to Journal/Magazine › Journal article › peer-review

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Time after time: William Kentridge's Heterochronies. / Dickinson, Philip.
In: Angelaki: Journal of Theoretical Humanities, Vol. 27, No. 5, 31.10.2022, p. 97-112.

Research output: Contribution to Journal/Magazine › Journal article › peer-review

Harvard

Dickinson, P 2022, 'Time after time: William Kentridge's Heterochronies', Angelaki: Journal of Theoretical Humanities, vol. 27, no. 5, pp. 97-112. https://doi.org/10.1080/0969725X.2022.2110398

APA

Dickinson, P. (2022). Time after time: William Kentridge's Heterochronies. Angelaki: Journal of Theoretical Humanities, 27(5), 97-112. https://doi.org/10.1080/0969725X.2022.2110398

Vancouver

Dickinson P. Time after time: William Kentridge's Heterochronies. Angelaki: Journal of Theoretical Humanities. 2022 Oct 31;27(5):97-112. Epub 2022 Sept 20. doi: 10.1080/0969725X.2022.2110398

Author

Dickinson, Philip. / Time after time : William Kentridge's Heterochronies. In: Angelaki: Journal of Theoretical Humanities. 2022 ; Vol. 27, No. 5. pp. 97-112.

Bibtex

@article{d20eeda2ed734b69b4a77daf451b9657,
title = "Time after time: William Kentridge's Heterochronies",
abstract = "This essay explores South African artist William Kentridge{\textquoteright}s multimedia installation The Refusal of Time, first exhibited at documenta (13) in 2012. In the material surrounding this installation, Kentridge and Peter Galison interrogate the history of time{\textquoteright}s material invention as a European system of imperial domination, one that gathered the planet itself into a homogeneous regime of sense. The installation explores the manifold workings of this systematised time in a dizzying array of arenas (colonialism, labour, industry, cinema, dance, quantum physics). Time emerges materially via rhythmic inter- and intra-actions mediated by power, but the installation also draws on a history of anticolonial revolt against time and formally de-naturalises time, releasing heterochronic energies and disrupting habituated experiences of time{\textquoteright}s homogeneous neutrality. Via readings of Kentridge, Jacques Ranci{\`e}re, Pheng Cheah, and the contemporary politics of time, I approach a mode of heterochronic thought (encompassing theory, art, and politics) that insists upon time as potentialising force.",
keywords = "heterochrony, William Kentridge, The Refusal of Time, Jacques Ranci{\`e}re, rhythmanalysis",
author = "Philip Dickinson",
year = "2022",
month = oct,
day = "31",
doi = "10.1080/0969725X.2022.2110398",
language = "English",
volume = "27",
pages = "97--112",
journal = "Angelaki: Journal of Theoretical Humanities",
issn = "0969-725X",
publisher = "Taylor and Francis Ltd.",
number = "5",

}

RIS

TY - JOUR

T1 - Time after time

T2 - William Kentridge's Heterochronies

AU - Dickinson, Philip

PY - 2022/10/31

Y1 - 2022/10/31

N2 - This essay explores South African artist William Kentridge’s multimedia installation The Refusal of Time, first exhibited at documenta (13) in 2012. In the material surrounding this installation, Kentridge and Peter Galison interrogate the history of time’s material invention as a European system of imperial domination, one that gathered the planet itself into a homogeneous regime of sense. The installation explores the manifold workings of this systematised time in a dizzying array of arenas (colonialism, labour, industry, cinema, dance, quantum physics). Time emerges materially via rhythmic inter- and intra-actions mediated by power, but the installation also draws on a history of anticolonial revolt against time and formally de-naturalises time, releasing heterochronic energies and disrupting habituated experiences of time’s homogeneous neutrality. Via readings of Kentridge, Jacques Rancière, Pheng Cheah, and the contemporary politics of time, I approach a mode of heterochronic thought (encompassing theory, art, and politics) that insists upon time as potentialising force.

AB - This essay explores South African artist William Kentridge’s multimedia installation The Refusal of Time, first exhibited at documenta (13) in 2012. In the material surrounding this installation, Kentridge and Peter Galison interrogate the history of time’s material invention as a European system of imperial domination, one that gathered the planet itself into a homogeneous regime of sense. The installation explores the manifold workings of this systematised time in a dizzying array of arenas (colonialism, labour, industry, cinema, dance, quantum physics). Time emerges materially via rhythmic inter- and intra-actions mediated by power, but the installation also draws on a history of anticolonial revolt against time and formally de-naturalises time, releasing heterochronic energies and disrupting habituated experiences of time’s homogeneous neutrality. Via readings of Kentridge, Jacques Rancière, Pheng Cheah, and the contemporary politics of time, I approach a mode of heterochronic thought (encompassing theory, art, and politics) that insists upon time as potentialising force.

KW - heterochrony

KW - William Kentridge

KW - The Refusal of Time

KW - Jacques Rancière

KW - rhythmanalysis

U2 - 10.1080/0969725X.2022.2110398

DO - 10.1080/0969725X.2022.2110398

M3 - Journal article

VL - 27

SP - 97

EP - 112

JO - Angelaki: Journal of Theoretical Humanities

JF - Angelaki: Journal of Theoretical Humanities

SN - 0969-725X

IS - 5

ER -