Social
Spaces

Laatste update programma

Z33 – ZEBRA DELUXE

KUNST IN DE OPENBARE RUIMTE: do. 23.09

19u00: Vertoning “Nearly Present, Just Past” met inleiding door Cel Crabeels

20u15: Vertoning documentaire over ‘Innercoma’ aansluitend gesprek met kunstenaar Philip Metten en Jan Boelen (artistiek directeur Z33)

I discovered this very interesting article about the meaning of Participatory Art and how it relates to concepts like space and time. Paul O’Neill - currently also investigating the art in public space landscape in Flanders – makes a difference between three stages of Participatory Art, being relational, social and durational art. While the first relates to what Bischop described as the authored tradition (expert vision), “social art” relates to a more community oriented and de-authored tradition (participatory vision). The third term “durational ” that O’Neill introduces is quite interesting. It gathers the first two terms in one concept (and in that way is able to go beyond a dichotomy) and adds one additional trait, namely time. Durational art produces “work” that keeps on generating social interactions after the artist has left the project site. This is of course very important when artists try to create work for a participatory culture (for more discussion around the concept of participatory cultures, join the discussion online, next wednesday!).

Our Social Spaces researchers had an active day yesterday making and sharing stories about their research and personal work and experiences. We joined a workshop on Cultural Probes and a Pecha Kucha evening.

CALL FOR PAPERS: 2010 Conference: “Art on the Street”
The Korean Society of Art Theories, Seoul, KOREA
October 24, 2010

We seek to build upon the recent discussion on public art and community by
investigating specific examples of the practices of contemporary art in
particular contexts. We pay attention to the way in which the process of
creation, perception, and reception of the artwork relates to the formation
of a community. We invite papers on mural projects, site-specific urban
planning projects, parks, public monuments, and other types of
community-oriented projects. Discussions on a project or network of
activities that form relationships among participants and a public are also
encouraged. At the same time, we hope to explore artistic practices that
resist or negotiate in terms of everyday life, localization, globalization,
and social and cultural structures. We also encourage papers that revisit
the issue of memory of community. While proposing art as potential means of
collective empowerment, we aim to investigate art that invokes or produces a
community. All perspectives and methodologies are welcome.