Imagine yourself entering a space to encounter an art installation. What is the traversal you perform, how did all that you notice come here? Is there evidence of the space the artist worked in when making the piece? Were there several spaces and several artists involved? How can we understand prior doings and selections that gave importance to what is among the things to be found? How to describe this togetherness, and how is it related to the spaces of creation?
The word simultaneity derives from Latin simul for “together, at the same time”. In physics, simultaneity would be the observation of two events at the “same” time which precludes that one event caused the other. When going from quantum-physical to human, even global scale, the “same” has a different meaning: Simultaneity as a fundamental condition of contemporary society has been described as the co-presence of otherwise unconnected temporalities—the near and far, the side-by-side—or a spillage from one domain into the other—nature, discourse, society.
The artistic research project Simultaneous Arrivals (simularr) probes simultaneity as a novel mode of artists working together in a research process, and consequently producing new forms of collaborative aesthetics. It is based on three premises: 1. Simultaneity does not exist without space and vice versa. 2. The working space “figures” in the work itself, it configures the work. 3. Arrival is a fragile process that takes time, it cannot be forced but has to be brought forth by all participants.
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