scholarly journals TRANSART. Transactions, Transferences and Transitions in Participatory Art

2018 ◽  
Vol 6 (3) ◽  
pp. 322
Author(s):  
Saioa Olmo Alonso
Keyword(s):  
Point Of View ◽  
Transactional Analysis ◽  
Artistic Practice ◽  
Community Art ◽  
Participatory Art ◽  
Freudian Psychoanalysis ◽  
Collaborative Art ◽  
Relational Art ◽  
Art Community ◽  
Dialogical Art

This article centres on the exchange of necessities, projections, ways of behaving and of establishing relations, of people involved in participatory art projects and collective artistic practices. For that, we explore how these exchanges happen, thinking about the transactions (from the point of view of the Transactional Analysis), the transferences and counter transferences (from Freudian Psychoanalysis), the concept of “habitus” (of Pierre Bourdieu’s sociology) and the transitional phenomena (from Donald W. Winnicott’s theory). We cross these concepts with the artistic fact andspecifically with ways of doing art usually appointed under labels such as Participatory Art, Collaborative Art, Relational Art, Dialogical Art, Community Art, Social Engaged Art, Artivism, New Genre Public Art and Useful Art. We pay attention to artistic practices that specifically put the focusof interest on exploring different possibilities of sociability that let people and collectives make transitions (ideological, practical, emotional, material, relational ones…) from one situation or position to another. We call “Transart” to this kind of artistic practice that works under the idea that art isa human creation that experiment with ways of exchange, that facilitate transits and that can contribute to processes of transformation.

scholarly journals Injection versus Extraction

Athanor ◽  
2019 ◽  
Vol 37 ◽  
pp. 37-52
Author(s):  
Yue Ren
Keyword(s):  
Social Issues ◽  
Vital Role ◽  
Community Art ◽  
Participatory Art ◽  
Socially Engaged Art ◽  
The Social ◽  
Art Practices ◽  
Art Community ◽  
Art And Activism ◽  
Interdisciplinary Scholarship

Socially Engaged Art (SEA) is a conventional yet emerging phenomenon at the broadest level. On one hand, art practices stimulated by and generated from social issues have taken a vital role along the development of modern and contemporary art, as we can now hardly indicate a single artwork that stands by its pure aesthetics; such situation only intensifies in the era of globalization, urbanization and information-explosion. On the other hand, while clusters of art practices appropriating and rebinding the social reality, a much longer list of analogous terminologies including public art, community art, participatory art, and activism art, are still enriching and complicating the concept SEA in the realm of interdisciplinary scholarship.

scholarly journals Subjectivation, togetherness, environment. Potentials of participatory art for Art Education for Sustainable Development (AESD)

2017 ◽  
Vol 6 (1) ◽  
Author(s):  
Helene Illeris
Keyword(s):  
Sustainable Development ◽  
Art Education ◽  
Education For Sustainable Development ◽  
Theoretical Concept ◽  
Community Art ◽  
Participatory Art ◽  
Art Form ◽  
Art Community ◽  
The Individual ◽  
The Hill

Through a process-oriented analysis of the participatory art project The Hill this article explores the relevance of participatory art projects for the development of AESD – Art Education for Sustainable Development. Inspired by Felix Guattari’s Three Ecologies (2008) the analysis moves through three sub-studies delving into three different aspects of the project. Each sub-study adopts two overlapping analytical ‘lenses’: The lens of a contemporary art form (performance art, community art, and site-specific art) and the lens of a related theoretical concept (subjectivation, togetherness, environment). The aim is to propose art educational ideas and strategies that stimulate students to challenge the current political, economic and environmental situation. Central questions addressed by the article are: How can educators use contemporary artistic strategies to challenge essentialist and opportunistic self-understandings? What is the potential for participatory art forms to explore alternative and more sustainable conceptions of human subjectivity? How can art education work in favour of a sense of interconnectedness between the individual, the social and the environmental dimensions of being? In conclusion, the article proposes art education as a symbolic place for carrying out art-inspired experiments with how to live our lives in more sustainable ways.

scholarly journals Art of Engagement: Visual Art of Thailand in Global Contexts

2017 ◽  
Vol 3 (1) ◽  
pp. 21
Author(s):  
Thanom Chapakdee
Keyword(s):  
Visual Art ◽  
Rapid Change ◽  
Art Practice ◽  
Relational Aesthetics ◽  
Community Art ◽  
Art Objects ◽  
Relational Art ◽  
Art Scene ◽  
Art Community ◽  
Global Art

This paper on the topic of Art of Engagement: Visual Art of Thailand in Global Contexts, attempts to explore that “global contexts” is transformed because of the impacts rapid change in economics, politics, society and culture. Globalization based on the notion of Global art and transform Thai art scene into the state of international art movement such as Installation art, Performance art, Community art, i.e. these movement becomes the mainstream of art since 1980s. This kind of movement which artist has created the art objects, space, time and sphere as a model of sociability which audiences can participate with people in community as relational art practice. The relational art becomes the space of exchange and participants can share experienced of taste, aesthetic, criticism which it’s related to art objects and sphere of community. This paper will explains that relational art is in the process of art of engagement. That is why art has become the community engagement which art objects and practical based are of the relational art and relational aesthetics.

scholarly journals Manipulating Memory and Mourning in Post-socialist Art

Monitor ISH ◽  
2017 ◽  
Vol 19 (2) ◽  
pp. 23-48
Author(s):  
Bojana Matejić
Keyword(s):  
Interactive Art ◽  
Artistic Practice ◽  
Political Equality ◽  
Current Time ◽  
Economic Changes ◽  
Participatory Art ◽  
Art And Culture ◽  
Art Community ◽  
The Right ◽  
Good And Evil

When it comes to global contemporary art practice, the present-day humanitarian discourse abounds in a variety of self-explanatory notions and imperatives such as: political art, community- based art, post-studio practices, participatory art, contextual art, socially engaged art, collaborative art, interactive art. It long ago became apparent that artistic practice can no longer revolve around producing objects for consumption by a passive audience, but must take an active part in interfacing with social reality. In perceiving the modality of a work of art and artistic practice, such a change goes hand in hand with the post-Fordist economic changes and the immaterial and flexible labour imperatives. Claire Bishop has already extensively depicted such artistic phenomena in several of her publications. Since the early 90s, after the fall of the Iron Curtain in 1989, we have been informed that we ought to be involved with the humanist struggle for the ‘politics of human rights’, and for ‘Art against terrorism’, or engaged with social groups and minorities with the aim of integrating them into a ‘legal sphere’ of life. The humanitarian/humanist imperative, present in everyday political discourse, art and culture, presupposes an opposition between good and evil, where art as a human, humanist and humanitarian activity, is supposed to assume a ‘responsible’ role. In the view of such rhetoric, Art must be ‘political’, ‘socially engaged’ and ‘participatory’, to the extent that it indicates the sharp distinction between the places of violence and those of justice. However, as Marx indicated so many times, the division between those who have the right to be seen (the ‘polis’, or public sphere) and those who do not have a right to a voice (private sphere), assents to social division as such, as well as a rather contingent ethical contraposition between good and evil. Humanitarianism/Humanism in art only affirms the existing democratic phraseology. The humanitarian/humanist regime of art validates a separation between civil society and the abstract society of political equality. Therefore, the aim of this paper is to trace the conceptual distinction between the humanitarian ideology of the current time in the post-socialist context of art and culture, and the thinking and practical application of the concept of the dehumanisation of art. The manuscript consists of three parts: In the first part, I will recall Adorno’s thesis regarding the ‘after-Auschwitz’ ethic of representation; in the second part, I will discuss the controversy and the implementation of this thesis following 9/11 as related to culture; and finally, in the third part, I will address the issue of how this thesis, as the main current ideological weapon, conditions the contemporary state of affairs in the post-socialist spaces of art and culture, by indicating several key symptoms in artistic production.

scholarly journals Ernest Irwandi EVALUASI PENDEKATAN PARTISIPATORI DALAM SENI, STUDI MURAL KOMUNITAS DI KAMPUNG KOTA

2020 ◽  
Vol 2 ◽  
pp. 174-178
Author(s):  
Ernest Irwandi ◽  
Setiawan Sabana ◽  
Andryanto Rikrik Kusmara
Keyword(s):  
Social Life ◽  
Participatory Action ◽  
Participatory Art ◽  
Shared Experiences ◽  
Collaborative Art ◽  
Mural Art ◽  
Art Community

Mural art does not only function as decoration but it is an art activity that impact social life. Decorating villageswith murals has become an art movement across Java. Creation of mural in these villages involves manystakeholders (government, universities, students, artists), which can be considered as participatory art, thatemphasize on collaboration and shared experiences. In participatory art, artists’ and facilitator role is to encouragecommunity creativity. This research focuses on art community murals using participatory action researchapproach. This research aim to analyze collaborative art creation models, and examine how art canempower a community.

scholarly journals Attitude that Matters

Nordlit ◽  
2007 ◽  
Vol 11 (1) ◽  
pp. 249
Author(s):  
Tiina Purhonen
Keyword(s):  
Public Art ◽  
Community Art ◽  
Avant Garde ◽  
Socially Engaged Art ◽  
Activist Art ◽  
Art Forms ◽  
Art Community ◽  
Dialogical Art ◽  
The One ◽  
Definition Of

In this article, I compare the operativity of radical avant-garde and new dialogical art forms from one selected viewpoint. I discuss the issue of the artist's attitude as a significance-producing element in the artwork. For decades, artist-issued interpretation of art has been problematic. Thus it is interesting to question the significance of the strong definition of the artist's attitude, inherent in the theories of the new dialogical art. New dialogical art-forms are for example new genre public art, community art, socially engaged art, public engaged art, littoral art, activist art, dialogical art, and conversational art. In the Finnish discussion, the concept of community art is the one most commonly used.

Artistic Research as a Process of Unfolding

2018 ◽  
Author(s):  
Darla Crispin
Keyword(s):  
Risk Taking ◽  
New World ◽  
Research Work ◽  
Point Of View ◽  
Artistic Practice ◽  
Professional Discourse ◽  
Political Discourses ◽  
The World ◽  
Empathic Communication ◽  
Artistic Research

As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.

Gestures of institutional critique

2018 ◽  
pp. 26-50
Author(s):  
Sruti Bala
Keyword(s):  
Institutional Critique ◽  
Artistic Practice ◽  
Participatory Art ◽  
Institutional Conditions ◽  
Tel Aviv ◽  
Activist Group ◽  
Visual Artist ◽  
Participatory Performance ◽  
Opera Production

Chapter I deals with the question of institutional critique in relation to participatory art. What is the place of institutional critique in relation to participatory performance? The chapter reflects on the conundrums of institutional critique, exploring the formation of participatory art forms as emergent from the critique of mainstream art institutions. It compares a number of approaches to institutional critique: the institutional affiliations of a community-based theatre project from Darfur, Sudan, a flash mob performance by an Israeli activist group protesting a Cape Town Opera production in Tel Aviv Opera House, a breaching experiment by visual artist Pilvi Takala, of trying to enter Disneyland dressed as Snow White, amongst others. Sometimes the gesture of critique consists in building counter-institutions, and sometimes in fleeing them. Institutional critique, understood as the explicit use of an artistic practice to interrogate, oppose or break out of art institutional frameworks has very asymmetrical trajectories across the world and across domains. The chapter argues that the changing institutional conditions of participation expose not just the norms of a certain institution, but also its specific traditions of institutional critique.

scholarly journals Silences and policies in the shared listening: Ultra-red and Escuchatorio

2020 ◽  
Vol 9 (1) ◽  
pp. 116-131
Author(s):  
Susana Jiménez Carmona
Keyword(s):  
Political Action ◽  
Sound Art ◽  
Recording Device ◽  
Cultural Institutions ◽  
Critical Approach ◽  
Specific Group ◽  
Participatory Art ◽  
Collaborative Art ◽  
Participatory Practices ◽  
Definition Of

With this article we want to offer a critical approach to participatory practices within sound art. To this end, we will analyse the work of two groups of sound artists who have placed participation and collaboration at the centre of their work and of their definition of sound art itself, using two very different approaches: Ultra-red and Escuchatorio. Both groups understand listening as a political action which always implies a relationship with others and with the environment. However, their very different ways of activating the collective listening may encourage us to consider how collaborative art is understood and practised at a time when the interest in participation from different artistic and cultural institutions (also political) keeps growing.By considering Escuchatorio and Ultra-red, we want to ask ourselves how it can be decisive who proposes to perform the sound action: whether it is a community in struggle or a group of artists, or a gallery/institution. Different proposers generate different receptors/participants and also different ways of understanding which values are at stake and how they are distributed. Who is able to participate and how it can be done entail different degrees of involvement, impact and barriers. For a specific group that meets in a specific place participatory art can foreground the differences between people who are close to each other (Ultra-red), whereas the participation of anyone who can use any type of recording device and upload recordings to the network emphasises the similarities between people who are otherwise strangers (the expanded radio of Escuchatorio).

scholarly journals A NOTE ON SOCIALLY ENGAGED ART CRITICISM

2017 ◽  
Vol 25 (53) ◽  
Author(s):  
Mikkel Bolt Rasmussen
Keyword(s):  
Art Criticism ◽  
Institutional Critique ◽  
Community Based ◽  
Participatory Art ◽  
Critical Potential ◽  
Relative Autonomy ◽  
Socially Engaged Art ◽  
Relational Art ◽  
Tactical Media

This article is a discussion of Grant Kester’s notion of socially-engaged art criticism via a retrospective mapping of the four most important 1990s artistic practices: relational art, institutional critique, tactical media and socially-engaged art. While both relational, or participatory, art and institutional critique seem to have run out of steam, and have fused more or less seamlessly with the institution of art, socially-engaged art still seems to hold critical potential by making use of the relative autonomy of art beyond the narrow confines of the art institution. The journal Field, founded and edited by Kester, is an attempt to develop a new art criticism that is able to account for this kind of practice. The turn to ethnography in order to analyse often open-ended community-based projects is relevant – and the

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