The Cartography Project: Towards a Relational Form of Documentation, the Case of Participatory Art Practices in Museums and Art Galleries

2019 ◽  
pp. 315-329
Author(s):  
Gabriella Giannachi ◽  
Rebecca Sinker ◽  
Steve Benford ◽  
Acatia Finbow ◽  
Helena Hunter ◽  
...  
Keyword(s):  
Art Galleries ◽  
Participatory Art ◽  
Art Practices ◽  
Relational Form

Conclusion: between image, act, body and language

2018 ◽  
pp. 136-141
Author(s):  
Sruti Bala
Keyword(s):  
Social Impact ◽  
The Other ◽  
Participatory Art ◽  
Other Hand ◽  
The Arts ◽  
The Social ◽  
Art Practices ◽  
Participatory Practice ◽  
The One ◽  
Historical Legacies

I have argued throughout this study that participatory art practices need to be understood in conjunction with the anxieties and contradictions that accompany them. Whether or not this is a formally constitutive characteristic worthy of naming as a genre is, in my view, less important than finding ways to account for and be responsive to the questions it poses. This is the place that this study departed from, yet oddly, it also the place it finds itself arriving at. For if this study has inquired into some of the conditions for and articulations of participation in the arts, it has also turned out to be an investigation of the ways in which participation is already circumscribed by the questions we ask of it, such as the social impact of participatory art, or its specific aesthetic features. The frictions in this endeavour will have become apparent to the perceptive reader: on the one hand I attempt to identify commonalities and systematic coherences in a field named as participatory art, and on the other hand I seek to analyse it in terms of its deviations from, and incommensurability with, a systematic narrative, in the emphasis of unruly, subtle, non-formalizable modes of participation. I treat participatory art as an inherited category, looking at its diverse, specific operations, or disciplinary routes and historical legacies. At the same time, I try to alter the terms of received wisdom by extrapolating principles and observations from the confines of one disciplinary arena into another. I search for ways in which affiliation to a given type of participatory practice might be described, only to find that formal coherences are perforated by aspects that exceed those same terms of affiliation. The analysis of participatory art and the conceptualization of participation in and through art thereby become intertwined in complex ways....

The gestures of participatory art

2018 ◽  
Author(s):  
Sruti Bala
Keyword(s):  
Collective Action ◽  
The Netherlands ◽  
Visual Arts ◽  
Civic Life ◽  
Institutional Critique ◽  
Community Theatre ◽  
Participatory Art ◽  
Art Practices ◽  
The Subject ◽  
Critical Investigation

The gestures of participatory art offers a critical investigation of key debates in relation to participatory art, spanning the domains of applied and community theatre, immersive performance as well as the visual arts. Rather than seeking a genre-based definition, it asks how artists, audiences and art practices approach the subject of participation beyond the predetermined options allocated to them. In doing so, it inquires into the ways that artworks participate in civic life. Participation is the utopian sweet dream that has turned into a nightmare in contemporary neoliberal societies. Yet can the participatory ideal be discarded or merely replaced with another term, just because it has become disemboweled into a tool of pacification? The gestures of participatory art insists that the concept of participation must be re-imagined and shifted onto other registers. It proposes the concept of the gesture as a rewarding way of theorizing participatory art. The gesture is simultaneously an expression of an inner attitude as well as a social habitude; it is situated in between image, speech and action. The study reads the gestural as a way to link discussions on participatory art to broader issues of citizenship and collective action. Moving from reflections on institutional critique and impact to concrete analyses of moments of unsolicited, delicate participation or refusal, the book examines a range of practices from India, Sudan, Guatemala and El Salvador, the Lebanon, the Netherlands and Germany. It engages with the critiques of participation and pleads for a critical reclaiming of participatory practices.

scholarly journals Estrategias del arte participativo: Entre la micro-política y el software social

AusArt ◽  
2016 ◽  
Vol 4 (1) ◽  
pp. 207-216
Author(s):  
Cuautli Exal Martínez Sánchez
Keyword(s):  
Social Relations ◽  
Social Software ◽  
Social Production ◽  
Daily Lives ◽  
Participatory Art ◽  
Art Practices ◽  
Relationship Structures ◽  
New Research ◽  
Self Production ◽  
Software Social

La hibridación de las tecnologías digitales con la totalidad de las actividades humanas ha desencadenado una transformación irreversible en múltiples aspectos de nuestra vida cotidiana pero sobre todo, en los procesos de construcción sociocultural; Lo efímero, híbrido, virtual, interactivo, heterogéneo, son ejes entorno a los cuales construimos nuevas relaciones sociales. Material de análisis y reflexión para el desarrollo de las prácticas artísticas contemporáneas. En este sentido, las estrategias participativas impulsadas desde las prácticas artísticas desarrollan estructuras de relación, espacios de encuentro, diálogo y autoproducción colectiva. Podríamos afirmar que exploran el campo de las relaciones sociales (la conectividad social) y sus potenciales expresivos, narrativos, políticos, poéticos, estéticos, etc. Este artículo propone un análisis de las estrategias artísticas participativas como herramientas híbridas e interdisciplinares que propician a través de nuevas metodologías de investigación, la reflexión sobre nuevos modos de producir subjetividad y visualidad, producción social y emancipación cultural.Palabras Clave: ARTE PARTICIPATIVO; SOFTWARE SOCIAL;TECNOLOGÍAS BLANDAS; ARTIVISMO; ESTRATEGIAS MICROPOLÍTICAS Strategies of participatory art : Between micro- policy and social softwareAbstractHybridization of digital technologies with all human activities has triggered an irreversible transformation in many aspects of our daily lives but especially in sociocultural construction processes; ephemeral, hybridity, virtuality, interactivity, heterogenity, disruptiveness, are axes around which we build new social relations. Matter of analysis and reflection in the developing of contemporary art practices. In this sense, participatory strategies promoted by artistic practices develop relationship structures, spaces for encounter, dialogue, common action and collective self-production. We could say that these artistic practices explore the field of social relations (social entanglement and engagement) and their expressive, narrative, politic, poetic or aesthetic, potentials. This article proposes an analysis of participatory artistic strategies as hybrid and interdisciplinary tools that lead through new research methodologies to new ways of producing subjectivity and visuality, social production and cultural emancipation.Keywords: PARTICIPATORY ART; SOCIAL SOFTWARE; SOFT TECHNOLOGIES; MICROPOLITIC STRATEGIES

scholarly journals Does the Artist Need to Be Present? The “Paradigm of Visibility” and Art Practices in Public Space

2017 ◽  
pp. 111-119
Author(s):  
Łukasz Białkowski
Keyword(s):  
Public Space ◽  
Social Presence ◽  
Social Impact ◽  
Participatory Art ◽  
Object Based ◽  
Art Practices ◽  
Social Efficacy ◽  
Production And Distribution ◽  
Participatory Practices

The thesis of my paper is that art participatory practices in public space have a paradoxical potential to avoid a paradigm of visibility. What I call the paradigm of visibility is a formula of social presence of art which is based on a necessity of occupying a certain physical or symbolical space and an effort to sustain it. This kind of public presence of art is traditionally considered to be a guarantee of its value in terms of both artistic and social legitimisation. A question arises if this formula has an alternative. It seems that participatory art practices in public space – focused on production of objects and searching for social impact and social efficacy – can formulate a different model of presence of art (of its production and distribution) than object-based art.

Cultural policy and participatory art practices in Flanders

2019 ◽  
Vol 32 (2) ◽  
pp. 266-281 ◽  
Author(s):  
Kris Rutten ◽  
Helena Calleeuw ◽  
Griet Roets ◽  
Angelo Van Gorp
Keyword(s):  
Cultural Policy ◽  
Cultural Practices ◽  
Policy Framework ◽  
Structured Interviews ◽  
Content Type ◽  
Participatory Art ◽  
The Arts ◽  
Art Practices ◽  
Politics Of Resistance ◽  
Art Organizations

Purpose In Flanders, the subventions in the cultural sector are mainly divided and decided upon within the framework of the Arts Decree. Within this policy framework, art organizations may choose in their funding applications for “participation” as one of the five possible functions to describe their artistic and cultural practices. However, questions need to be raised about the different interpretations of the notion of participation within this policy framework. The growing trend of evidence-based policy-making implies that participation risks to become a “target” that needs to be achieved instrumentally, which paradoxically ignores the fact that participatory practices within culture and the arts are very often diverse, multi-layered and context-specific practices. Starting from this paradox, the purpose of this paper is to explore how the current policy framework is translated into different “participatory” art practices by art organizations and specifically how cultural practitioners themselves conceptualize it. Design/methodology/approach In this paper, the authors discuss the results of a qualitative research based on semi-structured interviews with cultural practitioners about how they grapple with the notion of participation within their organizations and practices. Findings The results clearly show that practitioners use micro-politics of resistance to deal with different, and often conflicting, conceptualizations of participation in relation to this cultural policy framework. Research limitations/implications The implications of the findings are vital for the discussion about cultural policy. These micro-politics of resistance do not only have an impact on the development of individual participatory art practices but also on the broader participatory arts landscape and on how the function of participation is perceived within the renewed policy framework. Originality/value The original contribution of this paper is to explore the perspective of practitioners in cultural organizations about the function of participation in the Arts Decree in Flanders and specifically how the notion of participation is operationalized in their practices in relation to this cultural policy framework.

scholarly journals Injection versus Extraction

Athanor ◽  
2019 ◽  
Vol 37 ◽  
pp. 37-52
Author(s):  
Yue Ren
Keyword(s):  
Social Issues ◽  
Vital Role ◽  
Community Art ◽  
Participatory Art ◽  
Socially Engaged Art ◽  
The Social ◽  
Art Practices ◽  
Art Community ◽  
Art And Activism ◽  
Interdisciplinary Scholarship

Socially Engaged Art (SEA) is a conventional yet emerging phenomenon at the broadest level. On one hand, art practices stimulated by and generated from social issues have taken a vital role along the development of modern and contemporary art, as we can now hardly indicate a single artwork that stands by its pure aesthetics; such situation only intensifies in the era of globalization, urbanization and information-explosion. On the other hand, while clusters of art practices appropriating and rebinding the social reality, a much longer list of analogous terminologies including public art, community art, participatory art, and activism art, are still enriching and complicating the concept SEA in the realm of interdisciplinary scholarship.

scholarly journals Modern Digital Art Practices and “More-than-Human” Perception

2021 ◽  
pp. 200-221
Author(s):  
A.A. Denikin ◽  
Keyword(s):  
Human Perception ◽  
Digital Art ◽  
Artistic Practice ◽  
Participatory Art ◽  
Individual Perception ◽  
Art Practices ◽  
Affective Attunement ◽  
The Subject ◽  
The Aesthetic ◽  
Matter Energy

The article analyzes the concept of “more-than-human” perception, the features of which are constructed in the networks of relations, as a result of the interaction and relationships of heterogeneous forces (human activities, animals, bacteria, objects, technologies, etc.). This is not a subjective human perception, personal judgment of individual taste or social “distribution of sensitive”, but the collaborative process of configuring affective “field of the possible things” (define perception) as a result of the participation of multiple actants in the creation of life events, situations, processes, and conflicts. Based on the philosophical ideas of A. Bergson, W. Whitehead, J. Simondon, J. Deleuze, and F. Guattari, the author examines the affective nature of the interaction between the works of contemporary artists and the audience-participants. It is argued that creativity and artistic practice can be reinterpreted as processes of co-creation with the movements of matter formation. It is a way to think of art not as a form, but as a process open to a continuous interval of renewal and invention, which is revealed through the material relations of matter-energy, duration, transitions, and intuition. Through affective attunement techniques, participants organize the movements of matter-en- ergy flows, and each individual perception by the subject-actant becomes a joint “more-than- human” perception. Interactive and participatory works do not reflect reality in aesthetic forms, but instead create new processes, new places of creativity (manifestations of chance), in which the aesthetic is performatively realized before it is understood and reflected by the participants themselves. The text clarifies what constitutes “more-than-human” perception, how it relates to the usual understanding of the sphere of human sensory experience, and how it is implemented when working with modern interactive and participatory art projects.

scholarly journals The art of labour organizing: Participatory art and migrant domestic workers’ self-organizing in London

2019 ◽  
pp. 001872671989066 ◽  
Author(s):  
Zhe Jiang ◽  
Marek Korczynski
Keyword(s):  
Domestic Workers ◽  
Ideal Type ◽  
Organizational Processes ◽  
Participatory Art ◽  
Art Practices ◽  
Self Organizing ◽  
Migrant Domestic Workers

There has been an upsurge of interest regarding how actors engage with art within organizational processes. However, scholars have tended not to study the role of art within contemporary collective labour organizing. This article focuses on how participatory art may support flat, participative labour organizing, particularly among marginalized, relatively powerless workers. We present an ethnographic account of how art practices are deeply embedded within the flat organizing processes of Justice for Domestic Workers, a self-organizing group of migrant domestic workers in London. We reflect on this case to theorize the art of flat organizing, an ideal type of a set of participatory art practices that are compatible with and supportive of flat labour organizing.

scholarly journals A PERFORMANCE ART AS AN INTERACTIVE ACTION TOOL

2021 ◽  
Vol 10 (77) ◽  
Keyword(s):  
Performance Art ◽  
Real Life ◽  
Relational Aesthetics ◽  
Work Of Art ◽  
Participatory Art ◽  
Process Art ◽  
Artistic Process ◽  
Art Practices ◽  
Audience Interaction ◽  
Data Collection Technique

When considered as an artistic process, art questions the art problematism of the audience in the place of consumer, where the boundaries between art and real life are blurred, and the connection between them through the work of art. Art forms the precursors of fictions where the distant and uncertain relationship between the work and the audience is centered on mutual communication with new artistic approaches as an intervener/participant in artistic practice. In the first quarter of the 20th century, it is realized that the audience should be included in the work in order to remove the boundaries in the formative process of the work of art by taking an opposing attitude on the strict boundaries of the artist and the art work. As a matter of fact, the process that started with avantgarde formations in the early 1900s completely changed the nature of the relationship between the art work and the audience with the artistic practices of the 1960s. In the 1990s, the increasingly widespread audience-oriented participatory art practices initiated a period in which the audience was interactively involved in the performance and evolved into relationality with new approaches with active participation. In this direction, while the changing art practices in the historical process of Performance Art have evolved into new trends, placing the audience in a participatory/active position, the formation of relational-oriented new expressions will be examined in the context of relational aesthetics, the roles of artist-art work-audience interaction and new artistic understanding and formations. The idea of “togetherness” realized by participatory art according to the changing roles and practices of the audience creates a state of collective consciousness by providing an environment of socialization. Within the scope of the research, by reviewing the literature, document analysis was used as a data collection technique. In the light of the collected data, the relationality dimension of participatory art practices and the similarities, distinctions, interactions, and connections between concepts and subjects were tried to be clarified between these art formations. As a result of the research, it is seen that performance art provides a multi-disciplinary environment where the audience participates in the artistic production process, interacts and actively participates in contrast to modern art movements. Keywords: Relational art, viewer and participator, performance art, relationality

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