Surabayastory.com – Jadi apa sebenarnya waktu? Apakah waktu itu fisis atau hanya ada dalam pikiran? Makhluk hidup selain manusia memiliki pemahaman tentang waktu yang tercetak dalam pola biologis yang sangat teratur intervalnya. Alam merekam waktu dalam siklus yang presisi. Pada akhirnya manusia membutuhkan penjaga untuk mengatur setiap kegiatannya sehingga terciptalah kalender dan jam. Meskipun secara mekanis, periodisasi kehidupan manusia sudah terukur oleh alat, waktu masih memiliki persepsi obyektif dalam kesadaran kita. Tinjauan secara ilmiah, filosofis maupun psikologis, merupakan upaya untuk menangkap makna waktu yang senantiasa inheren dalam kehidupan ini. Mari kita memahami dan mencari makna waktu dari beberapa sisi.
Ibnu Sina, filsuf abad ke-11 menyatakan bahwa waktu hanya eksis dalam pikiran belaka, terbentuk karena pengalaman dan pengharapan. Sedangkan Isaac Newton, fisikawan abad ke-17, berpendapat waktu merupakan sebuah substansi tersendiri.
Waktu adalah sesuatu yang sering dipikirkan orang. Setiap orang ingin tahu sekarang jam berapa, berapa lama ia mengerjakan sesuatu, terlambat atau tidakkah dari waktu yang disepakati. Namun hampir tidak ada yang memikirkan lebih jauh. Misalnya, berapa lagikah keberadaan alam semesta ini, apakah memiliki akhir? Sepertinya semua orang percaya, jika esok hari akan berjalan seperti biasa. Diburu-buru waktu untuk bergegas menyelesaikan setumpuk tugas. Di tengah-tengah pekerjaan, orang menunggu saat akhir pekan tiba atau menentukan kapan waktu untuk mengambil cuti panjang. Semua orang percaya bahwa waktu telah berjalan seperti itu apa adanya. Menjadi kerangka setiap kegiatan dan rencana-rencana.
Sebenarnya, ada apa di balik waktu?
Ketika memperhatikan kalender, apakah yang tampak di sana?
Susunan angka teratur dalam pola tertentu, mengikuti musim dan pergerakan benda langit seperti Matahari atau Bulan, yang ditetapkan sekian ribu tahun lalu dengan aturan perhitungan presisi? Betul. Kalender selama ini kita gunakan untuk menentukan hari-hari penting dalam kehidupan. Pernikahan, ujian, kencan, perayaan dan lain-lain. Pernahkah kita berpikir jika hitungan-hitungan dalam kalender yang sudah kita akrabi itu berubah? Dalam setahun dibuat menjadi sepuluh bulan, misalnya. Mungkin sulit membayangkan hal itu terjadi. Namun di masa lalu, pergantian kalender dan perubahan radikal yang mengikutinya pernah terjadi. Apakah kalender yang kita pakai sekarang sudah mencapai tahap sempurna tanpa lagi perlu penyesuaian dengan kondisi alam?
Meskipun sekarang hampir seluruh manusia penghuni planet Bumi menggunakan satu sistem kalender sama, menggunakan sistem waktu berdasarkan waktu universal (universal time), namun sudut pandang tentang waktu tetaplah subyektif. Gambaran apa yang muncul di benak kita ketika kita menentukan kapan waktu istirahat, waktu bekerja, waktu makan siang, waktu belajar, waktu untuk keluarga atau bahkan saat berpikir tentang awal dan akhir waktu? Sudut pandang dan perspektif kita terhadap waktu-subyektif tersebut berbeda dengan teman kita yang lain.
Waktu menjadi relatif tergantung kepada kerangka acuan yang digunakan oleh pengamat. Dalam wacana fisika, waktu tidak memiliki kecepatan yang real, tempo yang terukur dan tidaklah mengalir.
Setelah meniup lilin berbentuk angka, tepuk tangan membahana. Disusul nyanyian riang “selamat ulang tahun” dan teriakan khas “potong kuenya” mengiringi detik-detik seremoni perayaan yang diulang-ulang setiap tahun. Tidak lama lagi, sebuah doa dipanjatkan agar yang bersangkutan diberi umur panjang. Angka yang melekat pada umur seseorang pun berubah. Umur ditakar melalui tahun. Tahun menjadi petunjuk bagi kita mengenai waktu.–sa
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The Melbourne Art Fair, which opens on Thursday, offers work by more than 100 artists from 70 galleries and Indigenous art centres.
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The artwork titled Smart sculpture incorporates two of these, one bearing a mop and the other a broom, that meander about inside a steel frame.
Kuku Yalanji/Kalkadoon artist Kim Ah Sam’s collection of woven sculptures Our Country are also mobile, although they don’t keep the floor clean: made of repurposed materials such as old bamboo blinds, they hover and spin in the air.
The works are inspired by termite mounds and mountains, and each one is the product of hours of weaving and many sleepless nights, the artist explained.
Our Country is installed not far from an artwork that could not be more different – a bedazzled, LED-lit hearse titled F*** Me Dead, by artist Paul Yore.
“It used to belong to a funeral home. I found it online, actually – I’m an avid collector of things,” Yore told reporters.
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Meanwhile at Ames Yavuz, Reko Rennie – whose retrospective at the NGV finished up in January – shows off a recent move into figurative painting.
One standout booth is the Australian Tapestry Workshop, where collaborations with artists including Atong Atem and Janet Laurence are on show, and visitors can get a peek at vibrant samples from a major four-by-10-metre weaving project for the Footscray Hospital, due to be installed later in the year.
Possibly the most expensive work for sale is a $US200,000 ($A310,000) four-screen video work by the international art collective teamLab, on show at Sydney’s Martin Browne Contemporary.
Whoever buys this will almost certainly be allowed into the Fair’s VIP lounge, which is sectioned off using inflatable flesh-coloured walls – worth seeing, even if you can’t get inside.
At MARS Gallery, Kenny Pittock continues his long-running series of shopping lists, from the tiniest scrap of paper rendered in ceramics, to a large scale aluminium version that reads “peas, bread cream, my red wine.”
The galleries will be hoping Melbourne’s art lovers will add some works of art to their shopping lists too.
Melbourne Art Fair runs until Sunday.
By the entrance to the Melbourne Art Fair is a major commission by Dawn Ng – a video of a frozen block of pigment, that has thawed over 20 hours.
Condensed into a 20-minute video, it’s mesmerising, disconcerting and a reminder of the brain-melting effects of rapidly consuming vast amounts of contemporary art.
The Melbourne Art Fair, which opens on Thursday, offers work by more than 100 artists from 70 galleries and Indigenous art centres.
Held at the Melbourne Exhibition and Convention Centre, it’s a chance to see some of the latest work by leading artists and check out large-scale commissions that will soon be headed for art institutions.
One of these commissions is a tubular steel installation by Auckland-based artist Yona Lee, that sees her using kinetic elements for the first time.
Could this be the first ever artwork to deploy tubes, clocks, lamps, fans … and robot vacuums?
The artwork titled Smart sculpture incorporates two of these, one bearing a mop and the other a broom, that meander about inside a steel frame.
Kuku Yalanji/Kalkadoon artist Kim Ah Sam’s collection of woven sculptures Our Country are also mobile, although they don’t keep the floor clean: made of repurposed materials such as old bamboo blinds, they hover and spin in the air.
The works are inspired by termite mounds and mountains, and each one is the product of hours of weaving and many sleepless nights, the artist explained.
Our Country is installed not far from an artwork that could not be more different – a bedazzled, LED-lit hearse titled F*** Me Dead, by artist Paul Yore.
“It used to belong to a funeral home. I found it online, actually – I’m an avid collector of things,” Yore told reporters.
New works by well-known artists were also on show at the fair’s gallery booths, with dozens of paintings and prints by John Wolseley at Australian Galleries, inspired by the return of endangered animals to the Northern Territory.
At Roslyn Oxley9 Gallery there’s the latest series of large scale photographs from Tracey Moffat titled The Burning, frontier landscapes that form the setting for one of Moffat’s mysterious dramas, played out in a series of stills.
Meanwhile at Ames Yavuz, Reko Rennie – whose retrospective at the NGV finished up in January – shows off a recent move into figurative painting.
One standout booth is the Australian Tapestry Workshop, where collaborations with artists including Atong Atem and Janet Laurence are on show, and visitors can get a peek at vibrant samples from a major four-by-10-metre weaving project for the Footscray Hospital, due to be installed later in the year.
Possibly the most expensive work for sale is a $US200,000 ($A310,000) four-screen video work by the international art collective teamLab, on show at Sydney’s Martin Browne Contemporary.
Whoever buys this will almost certainly be allowed into the Fair’s VIP lounge, which is sectioned off using inflatable flesh-coloured walls – worth seeing, even if you can’t get inside.
At MARS Gallery, Kenny Pittock continues his long-running series of shopping lists, from the tiniest scrap of paper rendered in ceramics, to a large scale aluminium version that reads “peas, bread cream, my red wine.”
The galleries will be hoping Melbourne’s art lovers will add some works of art to their shopping lists too.
Melbourne Art Fair runs until Sunday.