This blog is as public- if not moreso- than our studio projects will be. Realistically, the only ones reading it now are us- the participants. We are artists, we are informed about a whole range of art historical information a general public would not know, we are reading the same texts and responding to them. But this blog is obvibiously an extention of our studio spaces next month: there for anyone to wander into and, hopefully, take something away from. I certainly don't want to curtail the academic aspects of the project, but I also don't want to define our "public" too narrowly.... If you were in a bar talking to the random drunk beside you, how would you describe the overall project [a situation I just found myself in]? How would you describe your specific project? How we conceive of "the public" is, no doubt, a part of our projects. So, who do we think of as our public?
[edit to add: this isn't to propose how the writing should or shouldn't be; I recognize my own meandering between a conversational and a more academic tone. It's an observation, too, that "the public" is constructed- so what public would I like to construct? In other words, I don't define "the public" by mere proximity to my art or by a quick click on our blog; I would define it by who is engaged with the work or words.]
[edit to add: this isn't to propose how the writing should or shouldn't be; I recognize my own meandering between a conversational and a more academic tone. It's an observation, too, that "the public" is constructed- so what public would I like to construct? In other words, I don't define "the public" by mere proximity to my art or by a quick click on our blog; I would define it by who is engaged with the work or words.]
posted by David Lowe at 9:41 AM
4 Comments:
«A leitura fortalece a juventude» aconselha, que entre duas fatias douradas poisa, uma laranja sobre uma mesa com os dois pés no chão numa leve inclinação do corpo para frente. Com a mão a acompanhar faz rebolar a laranja para ti, até ela estivera a cair.
A laranja esta quase a cair - creio que uma das mãos deve agarrar a borda da mesa durante o tempo todo da experiência - apanhes a antes de ela tocar no chão. Repetes o fenómeno umas 3 ou 4 vezes seguidas.
!
what do "poisa" and "rebolar" mean?
I find you point really important in terms of the public involved in the situation both within the works and the symposium and blog. The blog will hopefully evolve and people will be send it out and participating more.
In terms of my work I do not define an audience, the public sphere works for me as part of it; do not see it as selective and by involving the public within the works I bring the gaps/barriers and questions that are very much present. The idea is to analyze it having a critical position in a way that you become a surrogate for the barriers in question—the performative works for me as part of that search.
As for the drunks I really have some doubts my capacity to engage in a conversation with them, so yes someone oblivious would be difficult to deal with???
yes, my example was an extreme one- but you get the point. Artwork may have different points of entry for people of different experiences with art, including those with none whatsoever. I wouldn't want to just ignore them altogether; adapting language is, I think, one way to open (or close) a piece for someone. And language can be tailored to the particular individual you are engaging. "To put it another way..."
[I think of courbet drawing from the popular styles of woodcuts; his paintings were then subject of the popular styles of characature.]
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