T+1×n (Time Recording System), 2024
72 x 27 x 8 cm, 8 kg
Bronze, steel, spring steel, PLA, lacquer, pigments, toothed belt, toothed pulleys, acrylic glass, wood, electric motor with electronics, various screws and nuts
battery powered or with 5V power supply, LSG-glazing, back
A transparent acrylic glass plate serves as an image carrier for twelve semi-transparent gray dial disks with spring steel hands and falling leaves made of patinated bronze. The hands are moved by means of toothed pulleys and a toothed belt, which are driven by an electric motor at a speed of 0.5 revolutions per minute.
The color of the green back wall was inspired by the paintwork of old metalworking machines. The mechanics by means of toothed belts refer to the functioning of 3D printers, which, like metalworking, were part of the production process for this work. Ten needle bearings would have been sufficient to prevent the toothed belt from slipping; however, 19 were used for aesthetic reasons.
The color of the green back wall was inspired by the paintwork of old metalworking machines. The mechanics by means of toothed belts refer to the functioning of 3D printers, which, like metalworking, were part of the production process for this work. Ten needle bearings would have been sufficient to prevent the toothed belt from slipping; however, 19 were used for aesthetic reasons.
The title „Time Recording System“ refers on the one hand to the fact that this work only appears to be about clocks. This is because there is only a (slowed down) second hand and no minute or hour hands. Secondly, the title refers to time recording systems (e.g. using time cards or a chip) that record the working hours of employees. The constantly repeating countdown or deadline therefore also illustrates the everyday routine of working life. The delay caused by the bending of the spring steel hand is also reminiscent of the aspect of procrastination.
Many thanks to Jakob Scheid for his helpful advice and to the City of Vienna's Cultural Department for funding the project.
Many thanks to Jakob Scheid for his helpful advice and to the City of Vienna's Cultural Department for funding the project.
© 2025 Matthias Kendler