In this article we ask in what way can the notion of care, collectivizing and the collective become a primary part of contemporary art practice? And further, what types of art practices address these central tenets of democracy? We do this by reflecting on the political potential of care and its importance as a tool for achieving an equal society. Uniting the action of care and collectivity, we conclude that together these two undertakings represent a political force of commoning within the public sphere. Utilizing the writing of Beech, Hutchinson and Timberlake, who argue for collectivism over collaboration as a way towards societal change, we reflect upon the political implications for art when artists work collectively. We consider the practices and function of other art collectives examining their key purpose for acting collectively. We employ our previous practice as the Freee Art Collective, as well as our more recent work as the Partisan Social Club to consider in what ways our practice can be deemed collective.
{"title":"On trying to be collective","authors":"A. Hewitt, M. Jordan","doi":"10.1386/APS_00033_1","DOIUrl":"https://doi.org/10.1386/APS_00033_1","url":null,"abstract":"In this article we ask in what way can the notion of care, collectivizing and the collective become a primary part of contemporary art practice? And further, what types of art practices address these central tenets of democracy? We do this by reflecting on the political potential of care and its importance as a tool for achieving an equal society. Uniting the action of care and collectivity, we conclude that together these two undertakings represent a political force of commoning within the public sphere. Utilizing the writing of Beech, Hutchinson and Timberlake, who argue for collectivism over collaboration as a way towards societal change, we reflect upon the political implications for art when artists work collectively. We consider the practices and function of other art collectives examining their key purpose for acting collectively. We employ our previous practice as the Freee Art Collective, as well as our more recent work as the Partisan Social Club to consider in what ways our practice can be deemed collective.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"113 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121046488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction to Artists’ Pages","authors":"","doi":"10.1386/aps_00015_7","DOIUrl":"https://doi.org/10.1386/aps_00015_7","url":null,"abstract":"","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116721941","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Operating in contested fields often requires agile and lateral actions to keep a project moving. Pattern Interrupt was an autonomous, discursive mobile artwork, located outside and between the institutional surroundings of RMIT University. It speculated on the tactical actions needed to work creatively within Melbourne’s public realm via a playful discussion series, augmented through a card game that stimulated the sharing of experiences between AAANZ Conference delegates, drawing on their various roles in the field. The cards distilled my accumulated insights from provisional experiments, workarounds and shortfalls as a transdisciplinary practitioner working in public art. They harnessed the language and format of artist instructions such as Oblique Strategies (1975) by Brian Eno and Peter Schmidt and early management games, such as Distant Early Warning (1969) by Marshall McLuhan. Operating at the intersection of publication and game, the deck of cards specifically challenged the linear format of a book or presentation as a way to distil findings from the field. Instead, it was a dynamic set of chance operations that could be reapplied within practice while remaining open to multiple interpretations. As a live laboratory, it articulated and activated knowledge/s drawn from the public realm. It offered participants an opportunity to find play in bureaucratic systems, and to work around intractable public art predicaments together.
{"title":"Pattern Interrupt","authors":"L. Roberts","doi":"10.1386/aps_00020_7","DOIUrl":"https://doi.org/10.1386/aps_00020_7","url":null,"abstract":"Operating in contested fields often requires agile and lateral actions to keep a project moving. Pattern Interrupt was an autonomous, discursive mobile artwork, located outside and between the institutional surroundings of RMIT University. It speculated on the tactical actions\u0000 needed to work creatively within Melbourne’s public realm via a playful discussion series, augmented through a card game that stimulated the sharing of experiences between AAANZ Conference delegates, drawing on their various roles in the field. The cards distilled my accumulated\u0000 insights from provisional experiments, workarounds and shortfalls as a transdisciplinary practitioner working in public art. They harnessed the language and format of artist instructions such as Oblique Strategies (1975) by Brian Eno and Peter Schmidt and early management games, such\u0000 as Distant Early Warning (1969) by Marshall McLuhan. Operating at the intersection of publication and game, the deck of cards specifically challenged the linear format of a book or presentation as a way to distil findings from the field. Instead, it was a dynamic set of chance operations\u0000 that could be reapplied within practice while remaining open to multiple interpretations. As a live laboratory, it articulated and activated knowledge/s drawn from the public realm. It offered participants an opportunity to find play in bureaucratic systems, and to work around intractable\u0000 public art predicaments together.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134062268","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Eco-Visionaries: Confronting a Planet in a State of Emergency, Gonzalo Herrero Delicado and Rose Thompson, Royal Academy of Arts, London, 23 November 2019‐23 February 2020","authors":"Fiona Glen","doi":"10.1386/aps_00026_5","DOIUrl":"https://doi.org/10.1386/aps_00026_5","url":null,"abstract":"","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127990149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ramble was a method for conference attendees to use mop-like-paintbrushes to write reactions to the conference on the pavement with water, making their ideas public.
Ramble是一种与会者用拖把状的画笔在人行道上蘸水写下对会议的反应，让他们的想法公开的方法。
{"title":"Ramble","authors":"B. Landau","doi":"10.1386/aps_00018_7","DOIUrl":"https://doi.org/10.1386/aps_00018_7","url":null,"abstract":"Ramble was a method for conference attendees to use mop-like-paintbrushes to write reactions to the conference on the pavement with water, making their ideas public.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121763059","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article examines some of the 'forgotten' posters of the Atelier Populaire, which were collectively produced by artists, workers, students and activists among others in the occupied Beaux-Arts school during the events of May '68. The article argues that alternative visual narratives are to be discovered in these posters, which break away from the representations of the events as youth revolt and the geographical reduction of the events to Paris and the Cartier Latin. Looking at them anew allows us to rediscover the unique solidarity among students, workers, farmers, the migrant workers and the unemployed, and to decipher the anti-capitalist character of the movement and its global dimensions.
{"title":"Forgotten solidarities in the Atelier Populaire posters","authors":"A. Memou","doi":"10.1386/APS_00002_1","DOIUrl":"https://doi.org/10.1386/APS_00002_1","url":null,"abstract":"Abstract This article examines some of the 'forgotten' posters of the Atelier Populaire, which were collectively produced by artists, workers, students and activists among others in the occupied Beaux-Arts school during the events of May '68. The article argues that\u0000 alternative visual narratives are to be discovered in these posters, which break away from the representations of the events as youth revolt and the geographical reduction of the events to Paris and the Cartier Latin. Looking at them anew allows us to rediscover the unique solidarity among\u0000 students, workers, farmers, the migrant workers and the unemployed, and to decipher the anti-capitalist character of the movement and its global dimensions.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130173758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article makes two main claims: that Debord's concept of the 'integrated spectacle' is related to end of History narratives and that the related concept of 'disinformation' is manifested in new forms of media-driven warfare. These claims are substantiated through a comparative analysis between Debord's texts and contemporary politics, primarily as described by Adam Curtis and by the RETORT collective. The resulting understanding of our contemporary politics is a situation where subjects who appear to be free, are in fact only free to choose between competing brands of neo-liberalism that manipulate and baffle to obfuscate their true agendas. This situation is termed a 'spectacular malaise'. The article then critiques post-Marxist claims to a re-birth of History and therefore a potential end to the spectacular malaise. It argues that the Arab Spring and Occupy movement did not signal an end to the end of History, as they were unable to articulate an alternative vision. This situation is compared to the last days of the Soviet Union, when change also seemed unimaginable. It identifies Mark Fisher's call for activists to demonstrate alternative possibilities and reveal contingency in apparently natural orders to counter the spectacular malaise. Three art collectives are considered as potential candidates to take up this challenge: Women on Waves, Voina and SUPERFLEX. The article concludes that while making actual social and political change is useful for demonstrating alternative possibilities, it is art's symbolic value that reveals contingency and strikes at the heart of the spectacular malaise.
本文提出了两个主要观点:德波的“综合景观”概念与历史叙事的终结有关，以及相关的“虚假信息”概念体现在媒体驱动的战争的新形式中。这些主张是通过对德波的文本和当代政治的比较分析得到证实的，主要是由亚当·柯蒂斯和反驳集体所描述的。由此产生的对我们当代政治的理解是这样一种情况:看似自由的主体，实际上只能在相互竞争的新自由主义品牌之间自由选择，这些品牌操纵和混淆了他们真正的议程。这种情况被称为“壮观的萎靡”。文章随后批评了后马克思主义关于“历史的重生”的说法，并因此认为这是一种潜在的终结。它认为，阿拉伯之春和占领运动并没有标志着历史终结的结束，因为他们无法阐明另一种愿景。这种情况与苏联最后的日子相比，当时的变化似乎也是不可想象的。它认同了马克•费舍尔(Mark Fisher)的呼吁，即活动人士要展示其他可能性，并以看似自然的顺序揭示偶然性，以对抗引人注目的萎靡。三个艺术团体被认为是接受这一挑战的潜在候选人:Women on Waves、Voina和SUPERFLEX。这篇文章的结论是，虽然进行实际的社会和政治变革对于展示替代可能性是有用的，但艺术的象征价值揭示了偶然性，并击中了惊人的萎靡不振的核心。
{"title":"Spectacular malaise: Art and the end of history","authors":"M. Lang","doi":"10.1386/aps_00006_1","DOIUrl":"https://doi.org/10.1386/aps_00006_1","url":null,"abstract":"Abstract This article makes two main claims: that Debord's concept of the 'integrated spectacle' is related to end of History narratives and that the related concept of 'disinformation' is manifested in new forms of media-driven warfare. These claims are substantiated through\u0000 a comparative analysis between Debord's texts and contemporary politics, primarily as described by Adam Curtis and by the RETORT collective. The resulting understanding of our contemporary politics is a situation where subjects who appear to be free, are in fact only free to choose between\u0000 competing brands of neo-liberalism that manipulate and baffle to obfuscate their true agendas. This situation is termed a 'spectacular malaise'. The article then critiques post-Marxist claims to a re-birth of History and therefore a potential end to the spectacular malaise. It argues that\u0000 the Arab Spring and Occupy movement did not signal an end to the end of History, as they were unable to articulate an alternative vision. This situation is compared to the last days of the Soviet Union, when change also seemed unimaginable. It identifies Mark Fisher's call for activists to\u0000 demonstrate alternative possibilities and reveal contingency in apparently natural orders to counter the spectacular malaise. Three art collectives are considered as potential candidates to take up this challenge: Women on Waves, Voina and SUPERFLEX. The article concludes that while making\u0000 actual social and political change is useful for demonstrating alternative possibilities, it is art's symbolic value that reveals contingency and strikes at the heart of the spectacular malaise.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134337864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Democracy is Dead! Long Live Democracy!","authors":"M. Jordan","doi":"10.1386/aps_00001_2","DOIUrl":"https://doi.org/10.1386/aps_00001_2","url":null,"abstract":"","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116922647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Simone Weil's view that 'there is more of eternity in the past than in the present' may appear unexpected from a writer who is mostly known for her revolutionary and progressive texts, for she seems to defend a regression to a lost past; at least at first reading and if one solely reads it from a historicist perspective. On closer look, her reflections on time, originally written in French in the mid-1950s, are strangely relevant to our present time and its tendency to patronize the past. The 1968 events, and how we tend to perceive them in the now, are a case in point. Exploring the legacy of this collective protest as recorded on documentary films provides us with the opportunity to rediscover a particular kind of political activism that seems to be absent today, either absorbed into a broader mainstream culture, discredited as utopian or reduced to mere anachronism. Why should these artefacts still be viewed as evidence of the real world? And how do they materialize and sustain protest memory?
{"title":"May '68 on film: The renaissance of a political past","authors":"Laurence Besnard-Scott","doi":"10.1386/aps_00003_1","DOIUrl":"https://doi.org/10.1386/aps_00003_1","url":null,"abstract":"Abstract Simone Weil's view that 'there is more of eternity in the past than in the present' may appear unexpected from a writer who is mostly known for her revolutionary and progressive texts, for she seems to defend a regression to a lost past; at least at first reading\u0000 and if one solely reads it from a historicist perspective. On closer look, her reflections on time, originally written in French in the mid-1950s, are strangely relevant to our present time and its tendency to patronize the past. The 1968 events, and how we tend to perceive them in the now,\u0000 are a case in point. Exploring the legacy of this collective protest as recorded on documentary films provides us with the opportunity to rediscover a particular kind of political activism that seems to be absent today, either absorbed into a broader mainstream culture, discredited as utopian\u0000 or reduced to mere anachronism. Why should these artefacts still be viewed as evidence of the real world? And how do they materialize and sustain protest memory?","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121532987","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In 1968 many intellectuals took to Piazza San Marco to express solidarity with the students of the Venice Academy of Fine Arts who were demonstrating against the Biennale and had been attacked for four hours by the police. In 2018 the same square was patrolled by armed troops deployed to 'protect the tourists' who occupied the city and there was no sign of protests against the Biennale. On the day of inauguration, the only voice of dissent was that of some citizens claiming their right 'to live here'. No trace of intellectuals. Many of the old protesters have made a comfortable career while the invited artists to the international exhibition have uncritically responded to the call of this year's Architecture Biennale, whose title is 'FREESPACE', without questioning the prevailing paradigm in which 'free' means 'space cleared from citizens and offered as a gift to financial investors'. Only a few national pavilions have adopted a more articulate attitude that might recall some of the May '68 aspirations. Retracing the events that transformed a public cultural institution into an enterprise at the service of the art market and a powerful agent of the gentrification and Disneyfication of Venice over the last 50 years, this article focuses on the role played by the Architecture Biennale in the process. It also highlights the few contributions that in 2018 challenged the dominant narrative by explicitly referring to the notion and practice of conflict.
{"title":"The 16th Venice Architecture Biennale celebrates the triumph of the ancient régime, but la lutte continue","authors":"P. Somma","doi":"10.1386/aps_00004_1","DOIUrl":"https://doi.org/10.1386/aps_00004_1","url":null,"abstract":"Abstract In 1968 many intellectuals took to Piazza San Marco to express solidarity with the students of the Venice Academy of Fine Arts who were demonstrating against the Biennale and had been attacked for four hours by the police. In 2018 the same square was patrolled by\u0000 armed troops deployed to 'protect the tourists' who occupied the city and there was no sign of protests against the Biennale. On the day of inauguration, the only voice of dissent was that of some citizens claiming their right 'to live here'. No trace of intellectuals. Many of the old protesters\u0000 have made a comfortable career while the invited artists to the international exhibition have uncritically responded to the call of this year's Architecture Biennale, whose title is 'FREESPACE', without questioning the prevailing paradigm in which 'free' means 'space cleared from citizens\u0000 and offered as a gift to financial investors'. Only a few national pavilions have adopted a more articulate attitude that might recall some of the May '68 aspirations. Retracing the events that transformed a public cultural institution into an enterprise at the service of the art market and\u0000 a powerful agent of the gentrification and Disneyfication of Venice over the last 50 years, this article focuses on the role played by the Architecture Biennale in the process. It also highlights the few contributions that in 2018 challenged the dominant narrative by explicitly referring to\u0000 the notion and practice of conflict.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127091723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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