Idle Hands brings together three projects which use forms of performance to document moments of downtime, waiting, anticipation, rest, and play.
Idle Hands presents two pieces from Dulce Lamarca’s Tuning Series: video documentation of the artist tuning her cello in constant preparation and without the closure of a formal performance. This new installation of existing work draws on physical elements of Lamarca’s New York studio, including a hammock which invites visitors and gallery staff to recline while viewing the earliest work in the series, Un entre (2017).
Installed in Blue Oyster’s front window facing out onto Dowling Street, Kate Mitchell’s 24-hour video performance In Time (2015) loops daily. Mitchell’s durational work, where time is as much the material as the action or gesture itself, documents a gruelling 24-hour performance where the artist alternately rests on and clings to the minute hand of a giant clock.
Zoe Thompson-Moore plays with practices and seasonality to gather together her life as an artist, mother and gardener. Her work, titled Pissing While (2022), includes a blue armchair (borrowed from her Waiwhetū, Lower Hutt home-studio for the duration of the exhibition), a length of French knitting which she first began stitching over a decade ago, and a playful drawing by her child Rowan and their friend Sylvie which is displayed on Blue Oyster’s office fridge.
Privileging process as much as outcome, each project records and captures material qualities of time through waiting, rest, patience (or impatience), and anticipation: modes of being which are central to our lives but absolutely counter to the dominant productivity discourse.
Developed in conversation with Bree Richards.
The exhibition will sit alongside a commissioned series of performance art presented as part of the 2022 Dunedin Fringe Festival between March 17–26, 2022.