piece includes 1- plastic clock with the silk-screened inscription “Local Time” and 1- hammer with the inscription “Augmenter,” clock comes in a cardboard box which also has the edition number written in pencil on its side, and a numbered certificate
condition is good, clock face has some scrtches
Part of an installation at Magasin which included 250 clocks and 250 hammers all installed together on one large wall. Each clock had the inscription Local Time silk-screened across its face and each hammer was inscribed with the word Augmenter. At the close of the exhibition, this installation was split up and scattered across many different places and times.
Local Time is a four-person collective, comprising Danny Butt, Jon Bywater, Alex Monteith & Natalie Robertson and based in Auckland, Aotearoa New Zealand. Local Time, a collective since 2007, usually working in collaboration with maintainers of local knowledge in specific sites. Our individual practices engage in debates concerning colonial histories and cross-cultural exchange through time-based media art projects, contemporary art teaching and critical writing. Our shared past includes two international symposia, which attempted to incorporate bi-cultural principles in their staging as well as in their thematics, establishing settings for exchange and dialogue shaped by tikanga Maori. This genealogy reflects our attempt to reconcile our experiences of colonial and indigenous knowledges and temporalities, the connection between the aesthetic and the political, and so with the way the cultural is political. Formed to consolidate and extend this history of collaboration, our name was chosen to reflect the idea of being ‘on local time’, adapting to local conditions while remaining sensitive to the way they are structured by ‘global’ formations. Our collective activities combine opportunistic responses and long term, ‘slow burn’ engagements. The purpose of Local Time is open-ended, embracing instability and experimentation, staying open to discovery in and across political, community, and art contexts.”