Sophie Norris
Sunday, October 3, 2010
Wednesday, September 29, 2010
WEEK 10_ Performance and the City reading
Hopkins, D.J. Orr, S. Solga, K. (2009). Performance and the City. England. Palgrave Macmillan.
CHAPTER 11:
Agency and complicity in ‘ A Special Civic Room’: Londons Tate Modern Turbine Hall
Harvie, J
“The turbine Hall is a destination purely about looking (at art); its space is deliberately organized to facilitate looking, which - in the Turbine Hall – necessarily becomes mutual watching; and its visitors are directly engaged in producing its relational art.” P208
“The building offers wonderful views, but it also subjects us to being viewed. We are spectacularly objectified through the panoptical effects of the big space of the Turbine Hall and the multiple interior windows overlooking it; visitors constantly gaze upon each other.” P211
CHAPTER 13
Can the city speak? Site-Specific art after poststructuralism
Laura Levin
“The act of radically relocating the spectator to centre stage does little to undermine the position of the spatial mastery already accorded to viewing subject within theatres traditional perspectival frame.”
“ To be specific to a site is thus to demonstrate a sense of responsibility toward it and to perceive all of its inhabitants as potential collaborators. The artist is no longer the origin and perspectival centre of the work, but rather someone who patiently responds to events in the surroundings. Spectators are also part of the visual terrain: they are ‘moving, coloured shapes too’.
“…spectator, aware of his/her placement relative to others in space…”
p244
‘The individual feels himself to be a spectator without paying much attention to the spectacle. As if the position of spectator were the essence of the spectacle, as if basically the spectator in the position of a spectator were his own spectacle.’ P249
WEEK 9_Mid Review
BERNARD TSCHUMI
Le Fresnoy National Studio for the Contemporary Arts, 1991-1997
Tschumi designed the conditions of the in-between space to become the programmatic core.
The design gives the affect of ascending to a new level.
Explores a space activated by program.
My own project located in the St Anne’s church in Prague intends to become focused around the notion of the “in-between” space located between the new roof of the ‘white box’ and the existing
roof of the St Anne’s church.
The structure is supported above the floor and made from fabric stretched between alluminium frames
on the walls and ceiling of the gallery.
Visitors view models of the practice’s projects – which are suspended inside the void – by standing underneath and inserting their heads through holes in the underside of the structure.
KATRIN SIGURDARDOTTIR
Sigurdardottir creates imaginary spaces within another space. Dealing with
scale to create a relationship between the work and the viewer. She uses
architectural structures to bring together nature and design, allowing the
viewer to participate with the work
- 30.09. 2004 Reconstruction of the Prague Crossroads
- 31.12. 2003 Reconstruction of the Prague Crossroads
- Looking at the structure of the site, to see how this can influence the design and structure of the spatial intervention.
Back (above) of House_ Performance chamber + main rehearsal space
Performance chamber_ White box
Front (below) of house: Auditorium entry_ Lobby_ Toilets
Back (below) of house: Hair and makeup room_ Conference room
WEEK 8_Concept Design
Massimo Bartolini
A Cup of Tea, 2000
Bed, drawing board, stove, chairs, carpet, book shelf, ladder, plaster, tiles, wood, neon, PVC, canvas box, sound system
(The official point of view, Milano Furniture Fair 2003)
Walking on the Wall (1971)
performed outside of a conventional theatrical context: in lofts, galleries, rooftop spaces, parking lots and plazas.
Man Walking Down the Side of a Building’ has a similar impact on its audience, not just because of how unnatural it is to see someone walking towards you down the side of a building but also because of the manner of viewing: the
audience experiences discomfort and disorientation in having to look directly up towards their subject.‘Man Walking Down the Side of a Building’ is essentially about identifying and deconstructing dance as a spatial experience. Brown makes her audience see the world differently giving the impression that much of the dance is taking place in the wings, outside of the audience’s sight.
4am
dePaor Architects
Venice Biennale
(www.archdaily.com)
My Concept Design Statement
Create a spatial labyrinth for spectators to explore as a means for viewing the performance held within the suspended “white box” which becomes enclosed by the structural labyrinth system.
By climbing up ladders and ramps to elevated viewing platforms, spectators can scan the fl
oating “white box” from varying levels, becoming an active agent, a participant producing and seeing unique aspects of the performance at every turn.
Feedback
Tuesday, September 28, 2010
WEEK 7_Relational aesthetics
Bourriaud, N (2002) Relational Aesthetics.
Artwork as social interstice.
The “encounter” between beholder and picture, and the collective elaboration of the meaning.
Theatre and cinema bring groups together before specific, unmistakable images. There is no live comment made about what is seen ( the discussion time is put off until after the show).
Encourages an inter-human commerce that differs from the “communication zones” that are imposed upon us. The present-day social context restricts the possibilites of inter-human relations all the more because it creates spaces planned to end this
Art is a state of encounter.
Form and other gaze
Wiltold Gombroowicz (writer) How each individual generates his own form through his behaviour, his way of coming across, and the way he addresses. P21
When the individual thinks he is casting an objective eye upon himself, he is, in the final analysis, contemplating nothing other than the result of perpetual transactions with the subjectivity of others. P22
Producing a form is to invent possible encounters; receiving a form is to create the conditions for exchange…p23
Serge Daney “all form is a face looking at me” p24
Participation and transitivity
growing number of stands offering a range of services, works proposing precise contract to viewers, and more or less tangible models of sociability. P 25
Spectator “participation”, theorised by Fluxus happenings and performances, has become a constant feature of artistic practice.
Fluxus artists focused on performance and also emphasized the projection of clear concepts through the implementation of simple actions. As in Happenings, the artwork depended upon the performance of viewers, who participated in the artwork. Obviously, including the audience was a radical departure from traditional performance, where there was a finite division between the performers and the audience
A work may operate like a relational device containing a certain degree of randomness, or a machine provoking and individual and group encounters
“society of the spectacle” p31
The aura of artworks has shifted towards their public
The “beholder” is encouraged to take up a position within the arrangement, giving it life, completing the work, and taking part in the formulation of its meaning. P59
Michael Fried: “The experience of the literalist art is an object in a situation, one which, virtually by definition, includes the beholder”