Drawing on the language of museum display, the installation On the Enclosure of Time speculates on current global socio-political issues and suggests possible future scenarios. The collection of 11 individual works within the installation reference a range of diverse, urgent subjects such as the current economic crisis, the end of the capitalist growth model, ecological processes and rhizomatic forms of knowledge distribution. Together they propose strange and fantastical juxtapositions and create links with modernism, museum display and the aesthetics and narratives of sci-fi.
The collection is playing with the sweeping generalisations evident in museum texts in which unfathomably vast periods of history are encapsulated within an all-encompassing narrative. Titles like About 40 Billion, The Beginning and the End and The Present is Now Appearing are all taken from museum labels which present a scenario that is at once impossible to imagine and strangely pedantic.
On The Enclosure of Time was first installed at the Wisbech & Fenland Museum, one of the first purpose-built public museums to open in the UK, in 1847. The mahogany display cabinets remain in their original position, 166 years later, creating a museum within a museum.
'On the Enclosure of Time' is one of the outcomes of 'History Rising', a subversive and engaging study of museum display in England, conceived and developed by Marjolijn Dijkman and curator Jes Fernie (2012-2015). A publication on 'History Rising' was published by Onomatopee in 2015.
The Present is Now Appearing, Wisbech & Fenland Museum, UK (2014)
Please Touch / Please Don’t Touch was produced in the foundry at the victorian Gressenhall Farm & Workhouse Museum during a public workshop with a blacksmith as part of the History Rising programme.