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Critical Spatial Practices in Art and the Relationality of Sites
- 1. Space, Place and Site in Critical Spatial Arts Practice By Jane Rendell
- 2. Key Points - Rendell coins the term critical spatial practice in the 2000s – this essay outlines some of her main ideas. - Site is more than the place of the work in relation to geometry, performance or ethnography. Sites are defined by the cultural and spatial practices that produce them – they are both relational (eg temporal) (and at their best should be critical) - Cultural Practices (examples?) - Spatial practices (examples?) - Smithson: site<>non-site (see next slide) - Three key ways of understanding this relationality in recent art: 1. Sites that are spatially dispersed from an originating point (eg gallery, theatre, campus) (Smithson) 2. Sites that are created by the spatial arrangement of works across a given place (eg city) (Lefebvre) 3. Sites that are created through activity (De Certeau); places are are created through relational events: “space as a practiced place” (p.48)
- 3. Definition of Terms - SITE: non-gallery; “open limits, a series of points, outer coordinates, subtraction, indeterminate certainty, scattered information, and some place (physical).” - NON-SITE: gallery - DIALECTIC: Generally is a discourse between two or more people holding different points of view surrounding a particular subject, though they agree to establish the truth through reasonable arguments. - HEGEL (18th cent German Philosopher) - Thesis <> Antithesis = Synthesis = (New) Thesis<>Antithesis, etc, etc until we become self realized, achieve transcendence, etc..
- 4. 1. Sites that are spatially dispersed from an originating point (sites/non-sites/off-sites) Robert SMITHSON Spiral Jetty, 1972 Joseph BEUYS 7000 Oaks, 1982-87(Kassel), 1988-1996 (NYC)
- 6. 2. Sites that are created by the spatial arrangement of works across a given place (Krauss: Expanded Field) Krauss, R. E. (1985). Sculpture in the Expanded Field. In The originality of the avant-garde and other modernist myths. MIT Press.
- 7. Cornford & Cross Utopia, 1999 2. Sites that are created by the spatial arrangement of works across a given place (In The Midst of Things, 1999, Bourneville UK) Kathrin Boehm Awning Project, 1999
- 8. Jeremy Deller Battle of Orgreave, 2001 3. Sites that are created through activity (De Certeau); places are are created through relational events: (Artangel projects, UK) Michael Landy Breakdown, 2001
- 9. Relevance to the Botanica project/site Some points to take into consideration when developing work for Botanica 2021 could include: - Having a strategic positioning of the piece – the particular position can make the work more pertinent and articulate questions. - Allowing the viewer to occupy a series of positions which changes the viewer’s relationship with the work. - Raising important issues concerning specific topics (e.g the work by Andrea Zittel p. 42). - Taking into account how the work can be accessible to a general public and aligned with the needs of the educational programs, their functionality, or directed social use. - responding to a need of the area/people rather than just go looking for a possibility offered up by the site. - understanding the specifics of particular sites and places, but only in relational terms as parts of larger networks, systems, and processes, physically, and ideologically. - Intentionally positioning one site next to another - Through actions and occupations how can you explore the spaces between these places. - Viewing space as a public place - Specific parts of places is highly problematic and therefore not conventional to use - Artworks located outside the gallery cannot be fully grasped through perceiving. Many require both perception and conception as responses from the subject
Editor's Notes
- Better Scenery is an artwork made up of four components, two photographs and two site-specific sculptures. It was commissioned by Camden Arts Centre, London. The sculptures are large signs, one located in North London, the other in the Painted Desert, Arizona. The photographs, each depicting one of the signs in situ, are displayed as a diptych. In the photograph on the left the sign is set within the O2 shopping and leisure centre’s busy car park off London’s Finchley Road. The photograph depicts a dark, built-up environment beneath an overcast sky. A few trees, shopping trolleys and lampposts are scattered among the many cars in the foreground. In the background the blur of a moving underground train is visible in front of a large Victorian red-brick building. In the photograph on the right the sign stands out against a vast blue sky in a landscape of grasses and yellow flowered brush receding to a flat horizon echoed by a line of mountains behind. A dark sandy hill rises at the left edge of the image. Each sign is a large black rectangle with yellow text that gives detailed road directions in simple language. Both signs are fixed in the ground by two timbers with a wind chime fixed to the top of the left strut. The sign in North London gives directions from Flagstaff, Arizona, to the specific location of the sign in the desert which, in turn, gives directions from Central London to the location of the sign at the O2 carp ark. The final sentence of both signs is ‘Situated here, in this place, is a sign which describes the location of this sign you have just finished reading.’ https://www.tate.org.uk/art/artworks/chodzko-better-scenery-p78530