Taking up notions of suspended time, Abbas Akhavan’s exhibition One Hundred Years contends with temporal halting and how time is represented in narrativized spaces. Weighing the narrative drive of storytelling against the emptying out of content or the freezing of narrative, Akhavan’s works simultaneously activates a stage and presses pause.

Presenting largely new works, the Belkin exhibition includes site-specific and ephemeral installations, video and sculpture that blur the meanings and distinctions between stage, set, gameboard, studio, and gallery. These works continue Akhavan’s interest in institutional and domestic spaces that contend with the coexistence of hospitality and hostility. Between the institutional and domestic are carceral spaces, fantasy spaces, gaming spaces, and spaces that condition behaviour and operate as civilizing architectures.

One Hundred Years offers shifting relations and narratives between objects, situations and audiences to occupy a fertile uncertainty. Within this constellation, actions and forms blur the distinctions between sleeping, halting, freezing, glitching and incarceration, functioning outside of linearity.