Collage : Diversions, Contradictions and Anomalies.
Body : Personal Relations and Spatial Values
Reading : Slow Philosophy
Collage's integral methods of discordance and displacement have so insistently reflected turbulent developments in twentieth century art, science and geopolitics that our response might be to categorise the whole genre as iconoclasm or subversive fantasy.
Sally O'Reilly
THE PERSPECTIVE OF EXPERIENCE
Yi-Fu Tuan
1959 : Patti Smith
Peace and Noise
Lingering at the threshold between word and image
Cy Twombly
Claire Daigle
Although his work resonates strongly with generations of younger artists, ranging from Brice Marden to Richard Prince to Tacita Dean to Patti Smith, it has a general propensity to polarise its audience between perplexity and unbridled admiration.
Certainly, the fortuities of a name are being pushed too far here, but what does Twombly do but offer up words in all of their resonance: literal, metaphoric, corporeal, material? His citations often have the vanitas effect of graffiti: ‘Cy was here’. Lingering at the threshold between word and image, Twombly renders visible those things – experience, emotion, the body’s share – that lie beyond the reach of verbal articulation
Research Material
Photographic Drawings
PETER ZUMTHOR ATMOSPHERES
Architectural Environments
Surrounding Objects
2006 Birkhauser, Basel, Switzerland.
The New Institutional Practice
Projective Enterprises (should unsettle, activate, and raise questions)
The exhibitions to emerge through new institutionalism are considered as points of exchange and collision, made through intersections of social, economic and political relations, it follows that the predominant forms of artistic practice included are the social, the spatial, the interdisciplinary
So our understanding of site has shifted from a fixed , physical location to somewhere or something constituted through social-economic-cultural and political processes
Site-Specific Art and Locational Identity
Miwon Kwon 2002
Collaborations and its Discontents
Claire Bishop 2006
The motivating factors for participatory projects is its critiquing of the essentialising of site and community in context-specific activities/exhibitions
A complex environment, awash in affect and subjectivity
When subjective and analytic processes mesh together to form a new productive and political 'contexts' of communicational labour
New curatorial initiatives must unpack the terminologies we use to distinguish one project from another
A playful psychogeographical situation, that resists the representative, illustrative and thematic narratives
Unsettling-Complicit
Provocative-Strategic
Interventionist-Collaborative
Perforative Curating/Prescribed Participation
Creating new/more coded patterns of behavior/conventions/role play for visitor's
New Institionalism and the Exhibition As Situation/Social Experiment
Claire Doherty 2006
Participation
In which people constitute the central artistic medium and material
In the manner of theatre and performance
Participatory art is both a social activity and a symbolic one, as it is both embedded in the world and at one, remove from it
The artist is conceived less as an individual producer of discrete objects, than as a collaborator and producer of situations
The contemporary artwork is finite, portable, commodifiable product, and is reconceived as an ongoing or long term project with an unclear beginning and end
Artists are more interested in the creative rewards of participation as a politicised working process, than the relational aesthetic which renders discursive and dialogic projects more amenable to museums and galleries
Artificial Hells (exposing the political and aesthetic limitations in the work)
Participatory Art and the Politics of Spectatorship
Claire Bishop 2011
Site-Specificity/Spatial Practice
The distinguishing characteristic of today's site-oriented art is the way in which both the art work's relationship to the actuality of a location (as site) and the social conditions of the institutional frame (as site) are subordinated to a discursively determined site that is delineated as a field of knowledge, intellectual exchange or cultural debate
Miwon Kwon 1997
Whilst temporary exhibitions can expand the scope of medium-specific discourse, they can also impose alternative, but equally restrictive frames
Participation, creating a bridge between socially engaged practice and the permanent collection
Expressing itself expressing
Creating a conceptual and linguistic dexterity between absolutes, certainties, definitions
Dissolving the intellectual relevance, with its symbiotic relationship with utility to create 'vessels' beyond art and artifact
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