In Samuel Beckett’s The Unnamable (1953) there’s a short, desperate line uttered by its anonymous protagonist: ‘I can’t go on, I’ll go on.’ That brief pause before the dichotomous resolution emphasises the sentence’s central concern: the unstoppable nature of time. Temporality, time passing, and – by logical extension – the irrevocable end of a life lived are the themes underlying Markús Þór Andrésson’s curation of the ten-day ‘real time art festival’, Sequences (est. 2006). But if this all sounds a…
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