The infinite now

The mystery of this fleeting ‘now’. To face it, time would acquire images and measurements: the circle for the Greeks, the straight line for History. But changes in the space and time of contemporary life place us before a paradox: if time becomes labyrinthine, opening up in several directions and different temporalities, it is also compressed in the speedy circulation of the images and pieces of information conveyed via the new technologies. ‘Now’ ceases to be the transitional moment between a past and a future that imparts meaning to it, to become the dilated and deviant interval of the experience or the synchronic instant of the media and electronic networks.

The videos and photographs presented by Bruno Vieira in this exhibition are traversed by three core unrests: the collapse of time, the poetics of the elements, the sense of verticality. How to inhabit this time that loses models and drawings? In which way this collapse modifies our insight of memory, the notion of past and future, the experience of the ‘now’, the esthetic fruition? How to open worlds in the incessant cosmogony of art? Rushing into the poetic choreography of the elements? Blazing footprints, the shadow of the man on the sand, uncommon and uninhabited cities, built with towers of water, fire, earth and air. Places that are not really places, worlds that long to be worlds and that seem to swing between the promise of the ‘going-to-be’ and their inexorable ruin.

The artist shows us how vain are the attempts to tame time. It invokes us to give back the emptied thickness in the vertiginous acceleration, to open up the horizons to the infinite landscapes of the ‘now’. A ‘now’ that extends in varied throbs and beats. A ‘now’ that, unfettered from the origins and finalities, expands to us the possibilities of History and of the time to come.

Marisa Flórido Cesar