Denaturalizing time: On kris verdonck's performative installation end

Originating from the avant-garde's attempt to supplant the structural limitations of perspective which 'bound the spectator to a single point of view', installation art emerged during the 1960s and the 1970s as a critique of the pure, self-referential work of art. Belgian artist Kris Verdonck integrates that modernist debate into his hybrid practice of performative installation. Trained in visual arts, architecture and theatre, Verdonck uses sophisticated technological devices in order to blur binary distinctions such as time-and space-art, inanimate and animate figures, and immateriality and materiality. This study focuses on End (Brussels 2008), which shows the possible final stages of a human society in ten scenes. I analyse End as an echo of the Futurists' performance tactics, which prefigured a broadening of the formal aesthetic boundaries of performance art under the major influence of Henri Bergson's theory of time.