In our work-oriented culture, especially in the protestant north, we have been told since the Middle Ages that idle hands are morally suspect. Since the Industrial Revolution, our hitherto self-organized manner of working—and playing—has been standardized, made to fit the factory whistle and the office clock. What has this done to our understanding of play time?
Appropriating the title of Jacques Tati’s most famous commercial flop, the 4th edition of Les Ateliers de Rennes – biennale d’art contemporain takes a Hulotesque stroll through the field of contemporary artistic practice.
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