I want to be Mixed Down as a Frequency (Interfaith Confession)
Nathan Witt is a [British artist] working with text, drawing, installation and performance.
Witt graduated in painting from the Royal College of Art in London in 2003 and has been a resident with Delfina Foundation and Art School Palestine, Ashkal Alwan’s Home Workspace Program in Beirut, Decolonizing Architecture in Beit Sahour and Hospitalfield Arts in Arbroath. Witt has recently been nominated for a Paul Hamlyn Award for visual art.
Recent exhibitions include: A Interloper at CCA Gallery, Glasgow (2015); Concerning the Bodyguard, The Tetley, Leeds (2014); A Museum of Immortality curated by Anton Vidokle and Boris Groys, Ashkal Alwan, Beirut (2014); Proxy Special, Platform Gallery, Belfast (2014); NOA III (Not Only Arabic) Research Week in conjunction with AIR Antwerpen and Kunsthalle Lissabon at 98 Weeks, Beirut, (2013); Points of Departure curated by Rebecca Heald, Al Mahatta Gallery, Ramallah (2013) and The Really Wild Show, London (2012).
Living and working to different times
Following a visit Jerusalem in 2012, I was thinking about the social separation in the working week, found in the religious quarters of the Old City. In terms of the different times each religion rests, socialises and also the differing year zero’s, the epoch, that each religion circumnavigates. That one year is 2012, the other 1433 and the other 5722; that the world’s religion’s cannot collectively agree on such a fundamentally simple thing as to what year it is – or when to work and rest. A continuous long-playing Gmail Calendar feed, which was set to Hebrew Ha’luach, Islamic Hijri and Christian Gregorian and now includes a Persian Lunar Solar Calendar and a Julian Calendar of Days.
The piece tries to remain as an existential approach to living and working to conflicting religious times and in the context of inter-subjectivity, as a vernacularized inter-religious dromological confession that wonders about the impact on everyday life, how we experience and live through any particular disparities and the adjustments we make, whether cognitively or mathematically, or through wholesale calendrical reform.
In the every day streaming of shared daily communal activity; of the emotionally and financially uneconomical labour of prosumerism, this piece has focused on the notion of simultaneously working, seemingly in reverse, for nothing – and sharing everything with our communal and veritable partners. This aspect was heavily influenced by Pedro Neves’ text Curatorial Business, on Donald Tapscott’s concept of the prosumer. The essay questions the conceits of collectivity and shared activity, especially the traditional concept of valorisation amongst our veritable partners. The continuous stream shows the banal collectivised activities, if any, and much like a social network feed, but set to 5 disparate religious epochs. The calendar has been streaming on a tumblr account since October 2012 to show these activities independently and off-site.