Time / Times

Time / Times is an installation that emerges from a fracture: the gap between time as measurement and time as experience.

On one side, there is objective time—the time we measure, count, and synchronize. It is the time of digital clocks, of precision and repetition: an apparently neutral flow that seems to proceed independently of us.

On the other side, there is lived time—perceived time, shaped by the body and the mind. It is an unstable, elastic time that accelerates or slows down depending on emotion, attention, and memory. Neuroscience clearly shows this: there is no single perception of time, but many—each subjective and often contradictory.

In the installation, a series of digital monitors display clocks that are initially perfectly synchronized. As time passes, however, this synchrony begins to crack: the clocks slowly start to drift. The discrepancy is minimal, almost imperceptible at first, but it gradually becomes evident.

This shift opens a space for questioning: if time is an objective measure, why is it unable to remain stable? And what if, instead, time were from the very beginning a fragile construction, dependent on observation and context?

Biological time appears fluid, interconnected, and continuous. Digital time, by contrast, is discretized, isolated, and divided into rigid units. Time / Times places these two temporal regimes face to face, without attempting to resolve their conflict. The question remains open: does time exist in itself, independent of human action and gaze, or is it an emergent property of our perception?

Alongside this first reading—closely tied to the subjective experience—the installation suggests a second, more conceptual and perhaps more silent interpretation.

The progressive desynchronization of the monitors can be read as a metaphor for the decay of things. Everything begins in order, in balance, and under apparent control. But over time, even in the most rigorous systems, small errors accumulate: imperfections, deviations, malfunctions. No traumatic event is needed for order to break down; time itself is enough.

In this sense, Time / Times stages the provisional nature of every structure, whether technological or conceptual. The idea that reality can be enclosed within a closed, coherent, and definitive system is slowly dismantled.

There is always something that escapes. Always a shift, a minimal error, a difference that grows.

The installation does not propose a conclusion, but a condition: that of remaining within instability, of observing the inevitable loss of control, and of accepting that no discourse—about time, technology, or reality—can ever be truly finished.