This essay analyses a selection of work by British painter Lubaina Himid through the lens of time, specifically non-synchronous time as adumbrated by Ernst Bloch, conjunctural time after Stuart Hall, and constellations of Benjaminian time. It engages in close visual readings of Naming the Money (2004), Tousssaint L'Ouverture (1987), and a series of nine paintings Himid has referred to as the Walter Benjamin Kangas (2016), also known as New Kangas from the Archive. Taking different kinds of time as its structural framework, the essay presents new ways of thinking about these artworks that cross past and present narratives of trauma, political agency, subjectivity and change. The essay demonstrates how the use of colour, installation and collage, in a re-address to history, to art history, to monuments, to time, to memory and to visibility, are central to Himid's practices as an artist: a practice in which she wrests painting from its traditional function as an instrument for white western canon formation, and re-deploys it in dialogical relation to its origins.

中文翻译：

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“梦想在历史中占有一席之地”：在 Lubaina Himid 的工作中等待时机

本文从时间的角度分析了英国画家 Lubaina Himid 的精选作品，特别是 Ernst Bloch 所暗示的非同步时间、Stuart Hall 之后的结合时间以及本杰明时间的星座。它对命名金钱（2004 年）、Tousssaint L'Ouverture（1987 年）以及 Himid 称之为Walter Benjamin Kangas（2016 年），也被称为档案馆中的 New Kangas的九幅画作进行了仔细的视觉阅读. 这篇文章以不同种类的时间作为其结构框架，提出了对这些艺术作品的新思考方式，这些艺术作品跨越了过去和现在关于创伤、政治代理、主观性和变化的叙述。这篇文章展示了如何使用颜色、装置和拼贴，重新处理历史、艺术史、纪念碑、时间、记忆和可见性，是 Himid 作为艺术家的实践的核心：一种实践她将绘画从其作为西方白色经典形成工具的传统功能中解放出来，并以与其起源的对话关系重新部署它。