The photocopies strewn across the floor appeared to be left over from a demonstration. Behind them, fresh pages lay ready, sorted into eleven little stacks lined up along one wall. This was Leipzig Calendar Works, 2005/2007, and it sometimes came to life in the presence of museum visitors: Tris Vonna-Michell would appear and ask to be given a length of time—thirty seconds per page, one minute per page, two minutes, whatever. If the visitors gave him thirty seconds per page, then, with the artist reading one sheet from each stack, they could expect a story exactly five and a half minutes long. During these performances the artist, a twenty-five-year-old British graduate of the Städelschule in Frankfurt, resembled an activist hastily making his arguments on a busy sidewalk. He spoke so quickly that sentences blurred together, places and events flowing into a rushing stream. Without looking
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