"Each of the works... not only sets up a dialogue with the site itself, but also allows the audience to playfully and conceptually reconsider the potential for human and environmental encounter within these spaces."
That second part is perhaps more difficult, but is for me a strong attraction to working on a site-specific project. I've been thinking about ways to not simply 'present', show-and-tell style, or even translate, but to actively engage with an audience and incorporate them into the work - make them co-conspirators in a way. We started talking about some ways to do this last weekend, but I would like to discuss this line of thinking further.
These were good examples of that - Simon Whitehead's in particular. In one way it was less clearly performative and creative (was in fact destructive), but in another it seemed the most inclusive, the most rewarding work with which to engage.
They're food for thought in terms of what we want to achieve in terms of touching an audience, how important it is that our project resonates with them beyond the moment.
The recontextualisation of the audience away from conventional spaces (art gallery, concert hall) already provides active engagement, particularly in the case of an on-site installation. And I'm definitely up for exploring ideas that challenge or reinterpret the relationship between the audience and their interaction with their surrounding environment beyond this.
I agree with you about Simon's work and I was also intrigued by the exploration of physical endurance and time in Rebekah Rousi's performance. Being a bit of an endurance race addict, I'm always intrigued when I come across artists who explore the physical limitations of performance (Satie's Vexations springs to mind for instance)
One idea that I liked from the Blackheath workshop, which I think is worth exploring more is the idea of multiple versions of a sound tour. So the 'audience' is plugged into headphones and hears something completely different to the person next to them. This provides the potential for the 'work' to resonate beyond the space (or the moment)
Another idea that was thrown around was encouraging the audience to write stuff in a book or on sheets of paper. Perhaps instead of writing we could make giant magnets of words that the audience could (if they wanted to) rearrange into their own version of the story being told...
life between buildings is a group blog documenting the creative process of a collaborative project between five Australian creative artists working in various disciplines – sound/music, visual arts and writing... read more
2 comments:
"Each of the works... not only sets up a dialogue with the site itself, but also allows the audience to playfully and conceptually reconsider the potential for human and environmental encounter within these spaces."
That second part is perhaps more difficult, but is for me a strong attraction to working on a site-specific project. I've been thinking about ways to not simply 'present', show-and-tell style, or even translate, but to actively engage with an audience and incorporate them into the work - make them co-conspirators in a way. We started talking about some ways to do this last weekend, but I would like to discuss this line of thinking further.
These were good examples of that - Simon Whitehead's in particular. In one way it was less clearly performative and creative (was in fact destructive), but in another it seemed the most inclusive, the most rewarding work with which to engage.
They're food for thought in terms of what we want to achieve in terms of touching an audience, how important it is that our project resonates with them beyond the moment.
-Benjamin
The recontextualisation of the audience away from conventional spaces (art gallery, concert hall) already provides active engagement, particularly in the case of an on-site installation. And I'm definitely up for exploring ideas that challenge or reinterpret the relationship between the audience and their interaction with their surrounding environment beyond this.
I agree with you about Simon's work and I was also intrigued by the exploration of physical endurance and time in Rebekah Rousi's performance. Being a bit of an endurance race addict, I'm always intrigued when I come across artists who explore the physical limitations of performance (Satie's Vexations springs to mind for instance)
One idea that I liked from the Blackheath workshop, which I think is worth exploring more is the idea of multiple versions of a sound tour. So the 'audience' is plugged into headphones and hears something completely different to the person next to them. This provides the potential for the 'work' to resonate beyond the space (or the moment)
Another idea that was thrown around was encouraging the audience to write stuff in a book or on sheets of paper. Perhaps instead of writing we could make giant magnets of words that the audience could (if they wanted to) rearrange into their own version of the story being told...
-Dan
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