Showing posts with label Participation and the City. Show all posts
Showing posts with label Participation and the City. Show all posts
Friday, 30 October 2015
Moving Out Symposium Live Blog 14: Bean and Mimiec
KENNY BEAN
LIGHT LAB
Light, time and memory. Used to take photographs... realised there was more fun in the bits inside a camera.
All his work relates to light. Has this camera obscura van... we all see upside down. So he reversed it. With screens around the caravan... cuts about the shop, had three and a half thousand people in this last 18 months...
Lie in the caravan and see the world outside on the ceiling.
Guerilla Projections - next project - communities to make their own projections. having recognised his own habit of leading communities to his own intended end, he is trying to hand it over to the participants.
RACHEL MIMIEC
Lots of work in hospitals, working with young people confined to their beds...
Also did pieces on people's experience walking in a place... gift me... exchange of time for art.
Facilitate workshops... spaces for making... creating a public studio... gave the materials, let people come in and make the exhibits.
Moves into different institutions...
LIGHT LAB
Light, time and memory. Used to take photographs... realised there was more fun in the bits inside a camera.
All his work relates to light. Has this camera obscura van... we all see upside down. So he reversed it. With screens around the caravan... cuts about the shop, had three and a half thousand people in this last 18 months...
Lie in the caravan and see the world outside on the ceiling.
Guerilla Projections - next project - communities to make their own projections. having recognised his own habit of leading communities to his own intended end, he is trying to hand it over to the participants.
RACHEL MIMIEC
Lots of work in hospitals, working with young people confined to their beds...
Also did pieces on people's experience walking in a place... gift me... exchange of time for art.
Facilitate workshops... spaces for making... creating a public studio... gave the materials, let people come in and make the exhibits.
Moves into different institutions...
Moving Out Symposium Live Blog 13: Sanctuary and Big Puppets
JO HODGES
SANCTUARY
A public space event... invite people to a remote area to explore meaning and designation of space and examine wider implication...
it's all about dark and light, including digital darkness (escaping the online identity). Be fully present for 24 hours, see the various art works, talks and walks.
Includes a radio station with all files deleted... you have to be there to hear.
Do stuff with technology old and new... in places where it is not usually present.
ETHOS: IT IS FREE... ARTIST AND AUDIENCE SAME COMMUNITY... UNIQUE OPPORTUNITY... DIS-COUPLE TECHNOLOGY FROM THE USUAL... FREEDOM TO FAIL...SHARED OWNERSHIP
It is not about being a spectator, it is about being a participant.
It is in a space where a temporary community can be formed... new connections and ideas to form.
MIKE AND RACH ROWAN
SURREAL MC COY
We perform in the street, and it is their place (that is, the audience's space). Mike did community theatre at Theatre Workshop, bit of panto, bit o' street, bit of guerilla.
Unashamedly populist. We conjure intimate interactions, directly addressing audience. We never entertain, we GET TO THEM.
Have these characters they use:
BIG RORY
Scottish geezer in kilt and skilts
MORAG
WEE MALKY
OCHY THE DOG
Ever so gentle connection... anarchic
SEAGULLS
were in Dismaland
.
Worked in 37 countries around the world
URBAN MEERCATS
POMPOUS MAXIMUS et c...
Basically, they do big puppets
THE IMPORTANCE OF THE SQUEAL
Company policy to notice people in wheelchairs and have fun with them.
I have consciously loved my audience... and they love you right back.
THEY MAKE THE WORLD'S NASTY BITS DISAPPEAR
SANCTUARY
A public space event... invite people to a remote area to explore meaning and designation of space and examine wider implication...
it's all about dark and light, including digital darkness (escaping the online identity). Be fully present for 24 hours, see the various art works, talks and walks.
Includes a radio station with all files deleted... you have to be there to hear.
Do stuff with technology old and new... in places where it is not usually present.
ETHOS: IT IS FREE... ARTIST AND AUDIENCE SAME COMMUNITY... UNIQUE OPPORTUNITY... DIS-COUPLE TECHNOLOGY FROM THE USUAL... FREEDOM TO FAIL...SHARED OWNERSHIP
It is not about being a spectator, it is about being a participant.
It is in a space where a temporary community can be formed... new connections and ideas to form.
MIKE AND RACH ROWAN
SURREAL MC COY
We perform in the street, and it is their place (that is, the audience's space). Mike did community theatre at Theatre Workshop, bit of panto, bit o' street, bit of guerilla.
Unashamedly populist. We conjure intimate interactions, directly addressing audience. We never entertain, we GET TO THEM.
Have these characters they use:
BIG RORY
Scottish geezer in kilt and skilts
MORAG
WEE MALKY
OCHY THE DOG
Ever so gentle connection... anarchic
SEAGULLS
were in Dismaland
.
Worked in 37 countries around the world
URBAN MEERCATS
POMPOUS MAXIMUS et c...
Basically, they do big puppets
THE IMPORTANCE OF THE SQUEAL
Company policy to notice people in wheelchairs and have fun with them.
I have consciously loved my audience... and they love you right back.
THEY MAKE THE WORLD'S NASTY BITS DISAPPEAR
Moving Out Symposium Live Blog 12: Some artists pitch their ideas
Eight artists
five minutes each
five images
John Wallace is first up... he's not on the delegate list, he says. But he is in the right place.
He makes documentary films and video art. Started off as a lighting guy in clubs around Edinburgh, and noticed how clubs made it work for the audience.
Went on to make films about rural landscapes - but film is always about people. His films gather information, an engaged process from start to finish.
In his video art, he asks how audiences might receive it in a place.
Worked with a soil expert to learn about eco-systems. This 2013 environmental art festival had a work formed by ecosystems' modelling, hanging screens over a river.
He expanded the work in 2014, over the Tweed on THE BORDER. The live sounds and smells merged with the video even having triggers so that the film could respond to change in environmental context.
This other thing was thermal imaging business... thinking about the public's response and reaction.
Public engagement means getting the public to be part of the work, and encourage their thoughts on their relationship to the place.
It's Angie Dight from Mischief. Set up in 1992, Mischief is still going strong. Did a special Festival of Ian Smith (22 November at the CCA sees a repeat... go and see it!). The cabaret of death they did as part of this is going to tour.
Walkabout Street Theatre, both commercially and a CS funded RFO. Fan Families are going to be at Galoshan, Elvis Cleaning Company overseas.
Now they have The Magnificent Organ: musical and physical, a big old organ going about the nation... did the summer, now off on a winter tour. Offered free to towns with poor art provision.
They do all sorts of sized work... it is about access to all (free at point of performance). Art not for the elite.
Being an RFO lets them develop a repertoire.
Put a couple of runners Des and Liz 'Take the Black Dog Out For a Walk' into the SMHAFF.
Increasing interested in mental health issues.
BEING SILLY DOESN'T MEAN YOU CAN'T ADDRESS SERIOUS ISSUES.
They are going to do something with Nursery Rhymes in the future...
ETHICS NIGHT COMING SOON 3 DECEMBER... PART OF THE ONLY WAY IS ETHICS FESTIVAL.
five minutes each
five images
John Wallace is first up... he's not on the delegate list, he says. But he is in the right place.
He makes documentary films and video art. Started off as a lighting guy in clubs around Edinburgh, and noticed how clubs made it work for the audience.
Went on to make films about rural landscapes - but film is always about people. His films gather information, an engaged process from start to finish.
In his video art, he asks how audiences might receive it in a place.
Worked with a soil expert to learn about eco-systems. This 2013 environmental art festival had a work formed by ecosystems' modelling, hanging screens over a river.
He expanded the work in 2014, over the Tweed on THE BORDER. The live sounds and smells merged with the video even having triggers so that the film could respond to change in environmental context.
This other thing was thermal imaging business... thinking about the public's response and reaction.
Public engagement means getting the public to be part of the work, and encourage their thoughts on their relationship to the place.
It's Angie Dight from Mischief. Set up in 1992, Mischief is still going strong. Did a special Festival of Ian Smith (22 November at the CCA sees a repeat... go and see it!). The cabaret of death they did as part of this is going to tour.
Walkabout Street Theatre, both commercially and a CS funded RFO. Fan Families are going to be at Galoshan, Elvis Cleaning Company overseas.
Now they have The Magnificent Organ: musical and physical, a big old organ going about the nation... did the summer, now off on a winter tour. Offered free to towns with poor art provision.
They do all sorts of sized work... it is about access to all (free at point of performance). Art not for the elite.
Being an RFO lets them develop a repertoire.
Put a couple of runners Des and Liz 'Take the Black Dog Out For a Walk' into the SMHAFF.
Increasing interested in mental health issues.
BEING SILLY DOESN'T MEAN YOU CAN'T ADDRESS SERIOUS ISSUES.
They are going to do something with Nursery Rhymes in the future...
ETHICS NIGHT COMING SOON 3 DECEMBER... PART OF THE ONLY WAY IS ETHICS FESTIVAL.
Moving Out Symposium Live Blog 11: Feedback
Politics and Artists
Last week, at In Cahoots, someone defined 'community art' in a cynical manner: it involves an artist cutting about with a bunch of people, getting them involved, then putting his or her name on the end product. Like when I get all people to write for The List, then tell everyone that I define the theatre section's identity.
So, that's the question of authorship considered.
Sometimes it's the metaphor rather than the physical manifestation that's more powerful. Boyden encapsulates the success of Bölter's work
Moving Out Symposium Live Blog 8: Chris Fremantle
Art in Hospitals
Who is the author of the art work?
Hospitals only put out work made by patients.
The patient is capable of challenging their status as an object by making art.
What are the users' needs?
Patient dignity informing an interior design project.
To connect with patients' everyday life.
Removing Disney stuff from the walls of kids' wards
The personal stories of staff worked into illustrations around the hospital.
Is equality the same as democracy?
Citizen Control
Delegated Power
Consultation
Informing
Therapy
Manipulation
Participation is often marked by a small number of people getting very closely involved
Mention: Matarasso A Restless Art 2015
art and participation are not the same in their effect... what does art do specially?
Kester, The One and the Many 2011
successful projects... non-hierachical, critical self-reflection, cultivate solidarity, pragmatic openness to site and situation
Questions
Where is authority and why?
Is there something distinctively art?
How does it relate to shared concerns?
Are there wider lessons from sited work?
Who is the author of the art work?
Hospitals only put out work made by patients.
The patient is capable of challenging their status as an object by making art.
What are the users' needs?
Patient dignity informing an interior design project.
To connect with patients' everyday life.
Removing Disney stuff from the walls of kids' wards
The personal stories of staff worked into illustrations around the hospital.
Is equality the same as democracy?
Citizen Control
Delegated Power
Consultation
Informing
Therapy
Manipulation
Participation is often marked by a small number of people getting very closely involved
Mention: Matarasso A Restless Art 2015
art and participation are not the same in their effect... what does art do specially?
Kester, The One and the Many 2011
successful projects... non-hierachical, critical self-reflection, cultivate solidarity, pragmatic openness to site and situation
Questions
Where is authority and why?
Is there something distinctively art?
How does it relate to shared concerns?
Are there wider lessons from sited work?
Moving Out Symposium Live Blog 7: Chris Fremantle
Art, Participation and the City
Producer on Arts and Healthcare Environment Projects
Chris' take on the area
He's got 'more hats than a hat shop'.
SITED project
A time limited research programme.
assumptions
sited work of equal value to work in official spaces*
across all art forms
temporary is valued by artists/ permanent by commissioners
artists and producers talk about contexts and behaviours
has visual art appropriated other art forms over the past 50 years?
SITED avoided this by having artists from different forms.
*Note: Glasgow Turner Prize winners all did sited work but were nominated for gallery based work. Does this imply the TP values gallery work over sited.
Note: is The Stag, The Cheviot... a sited based work?
Note: do sited work artists enjoy risk and uncertainty?
issues
Sited work has outgrown art-form led art-form led policy and needs a cross-artform frame
previously, sited work was a subset of visual art (in Creative Scotland categories, anyway)
Place and identity are central but need to be questioned
Sited work offers important new ways of working for 'official' spaces
Producers have a key role, but this is insufficiently understood
compare to 'knowledge exchange' - what does it mean?
Note: is sited work 'doing good'?
What does 'doing good' actually mean? Is it useful to think in such a simplistic way?
Note: Project led focus denies strategic thinking
Producer on Arts and Healthcare Environment Projects
Chris' take on the area
He's got 'more hats than a hat shop'.
SITED project
A time limited research programme.
assumptions
sited work of equal value to work in official spaces*
across all art forms
temporary is valued by artists/ permanent by commissioners
artists and producers talk about contexts and behaviours
has visual art appropriated other art forms over the past 50 years?
SITED avoided this by having artists from different forms.
*Note: Glasgow Turner Prize winners all did sited work but were nominated for gallery based work. Does this imply the TP values gallery work over sited.
Note: is The Stag, The Cheviot... a sited based work?
Note: do sited work artists enjoy risk and uncertainty?
issues
Sited work has outgrown art-form led art-form led policy and needs a cross-artform frame
previously, sited work was a subset of visual art (in Creative Scotland categories, anyway)
Place and identity are central but need to be questioned
Sited work offers important new ways of working for 'official' spaces
Producers have a key role, but this is insufficiently understood
compare to 'knowledge exchange' - what does it mean?
Note: is sited work 'doing good'?
What does 'doing good' actually mean? Is it useful to think in such a simplistic way?
Note: Project led focus denies strategic thinking
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