A second artist whose work revolves around ephemeral moments is Robert Morris. Morris’ pieces intend to ‘forget their previous forms as they slide and form into new configurations’. A good example of this is his 1967-8 work ‘Untitled’. This 2.5m high piece is composed of thick black looms that tumble forwards onto the floor above the viewer. Each time the piece is shown the ribbons of felt are pushed though the wall behind it and fall to the floor in different ways; this creates a new sculpture in each gallery it is presented. Like Tichý’s photographs, this is a way that an ephemeral moment can be documented and *remembered, and, from my interpretation, attempting to show a viewer how *special the random, the everyday and the mundane can be.

Profit | Decay

A trophy decomposes, triumphs vanish and the symbol turns into dust. Everything goes back to the estate of calm, switching the energy infused towards production, to the lethargy of recuperation, the acedia of the spoiled and the otium of the wise.
The stillness that follows the storm keeps on working as a natural remedy for the anxious explosion of the oversaturated and the intoxicated. Austerity functions as an imposed salting of the earth (of the soil of wealth), stopping the invaders from continuing their duties but dispelling the affected from any chance of improvement: when the ceiling slowly falls down, movement is restricted and torpor is the most profitable path to survival.