Street interventions
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The document discusses guerrilla art and intervention art projects in public spaces. Students will work in small groups to create a piece of intervention art, using chalk or charcoal in an inconspicuous place and bringing water to wash it off. Their art should have a positive effect and communicate their ideas through anonymous acts, as discussed in the examples of artists who create public art interacting with people, such as Gillian Wearing, Robin Rhode, and Francis Alÿs.
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Street interventions
- 1. Street Interventions Aim of Session: To learn about several artist that create art in the public realm interacting with the public in some way . Your aim today is to create a piece of intervention art in a small group inspired by these artists. If you work with chalk or charcoal it needs to somewhere inconspicuous and you need to carry water to wash it off with.
- 2. Remember this Guerilla art project you are working on will ask you to communicate your ideas in a range of media and where possible through anonymous acts. Everything you create must have a positive effect upon your audience or environment. According to the magazine Adbusters, “Public art says ‘the human spirit is alive here.’” Guerrilla art can be anything you want – an idea, an expression, a movement, an experience, an outlet, a way of connecting, a way of documenting, a challenge, a form of play, a statement, a performance, an attitude, a practice, an improvisation, a ritual.’
- 3. Gillian WearingDancing in Peckham(1994)
- 4. Link to T-mobile Dance youtube video http://www.youtube.com/v/VQ3d3KigPQM http://www.youtube.com/v/VQ3d3KigPQM
- 5. GiIllian Wearing Signs that say what you want them to say and not Signs that say what someone else wants you to say 1992-3
- 7. Vito AcconciFollowing piece 1969
- 8. Sophie Calle 'Suite Vénitienne1980-1996
- 9. Sophie Calle 'Suite Vénitienne 1980-1996
- 10. Sophie CalleThe Shadow (1981)
- 11. Robin Rhodes He Got Game Robin Rhode Performance at Observatory, Cape Town, South Africa, 2000
- 12. Robin Rhodes He Got Game (2000)
- 16. Robin Rhodes
- 17. Francis AlÿsSometimes Making Something Leads to Nothing Mexico City 1997
- 18. Francis Alÿs
- 19. link to out Youtube video Francis Alys- Sometimes Making Something Leads to.... http://www.youtube.com/v/ZedESyQEnMA
- 20. Link to Francis Alys- Railings Youtube video http://www.youtube.com/v/tC4-op71sa4&feature/related
- 21. Aim of Session: To learn about several artist that create art in the public realm interacting with the public in some way . Your aim today is to create a piece of intervention art in a small group inspired by these artists. If you work with chalk or charcoal it needs to somewhere inconspicuous and you need to carry water to wash it off with.
Editor's Notes
- But the one that always pulls me up is this video of Wearing dancing like a bacchante in a floral shirt in a south London shopping centre. It's a hilarious, ludicrous image of ecstasy, as someone appears to go off their head in a public place. But it also has that quality of another person being absolutely there, and at the same time absolutely other, that is characteristic of great portraits. If that sounds too much, try a south Londoner, William Blake: "The most sublime act is to set another before you." This portrait is an attempt to become, rather than to paint, another person. Wearing was in the Royal Festival Hall, she remembers, and a jazz band was playing. She wasn't listening to the jazz but "just wandering around" when she saw a woman dancing madly by herself. "This woman caught my eye. She was completely separate. She was dancing not in sync with the music at all. She was caught in the moment." She was gripped by the image of someone just going crazy, behaving in a public place as they might in their own bedroom. "Sometimes when I see someone it goes through my head endlessly." She thought of asking this woman if she could film her but instead set out to re-create the scene. Dancing in Peckham is a 25-minute video that shows on an ordinary television monitor. The dancer, Gillian Wearing, under the vaulted glass roof, on the shiny pavement, has a look of intense seriousness on her face. She throws her hair about, shakes, gets down. She looks ridiculous, in a public place in broad daylight. She is not dancing to a Walkman, just to sounds in her head. Before making the video she practised dancing to some of her favourite music - Nirvana, Queen, Gloria Gaynor. In the course of the tape she changes style, moving to different imaginary sounds. In all that time no one comes up to her, no one stops her. They walk on by, looking contemptuous or indifferent. The piece multiplies mysteries. The other people, the ones walking by, become as mysterious as the dancer. Those old people in the background - who are they? That boy striding past in dark glasses - what is he thinking? This is simultaneously a portrait of an unnamed woman seen at the Royal Festival Hall, a self-portrait, and an image of what it is to be lost in a private rhapsody.
- Gillian Wearing first attracted public acclaim when she exhibited this series of photographs at City Racing, a small artist-run gallery in London in 1993. She had been using video and photography since the early 1990s, but this was her first significant collaboration with members of the public. Standing in a busy area of South London, Wearing stopped passers-by and asked them to write down what was on their mind. With their permission, she then photographed them holding their statement. As indicated by the title of the work, Wearing has written that this collaboration 'interrupts the logic of photo-documentary and snapshot photography by the subjects' clear collusion and engineering of their own representation.' (Wearing 1997, p.3)Among the group is one of Wearing's best known images which depicts a smartly dressed young man with a mild, even complacent, expression holding a sign saying simply, 'I'm desperate'. In a 1996 interview Wearing described how 'People are still surprised that someone in a suit could actually admit to anything, especially in the early 1990s, just after the crash… I think he was actually shocked by what he had written, which suggests it must have been true. Then he got a bit angry, handed back the piece of paper, and stormed off.' (Unpublished interview with Marcus Spinelli, South Bank Centre 1997)
- the Signs series examines the relationship between public image and private identity. Wearing often cites the influence of early British 'fly-on-the-wall' television documentaries such as Michael Apted's pioneering Seven-Up (Granada Television 1964), which charted the progress of a group of children at seven year intervals, or Paul Watson's raw investigation of family life in The Family (BBC 1974). In these television programmes intimate experiences were presented to a nationwide audience as apparently unmediated 'real life'. However the tradition of 'fly-on-the-wall' documentaries, as well as confessional TV chat shows, imply an authenticity which Gillian Wearing persistently questions.
- Following Piece»«Following Piece» is one of Acconci's early works. The underlying idea was to select a person from the passers-by who were by chance walking by and to follow the person until he or she disappeared into a private place where Acconci could not enter. The act of following could last a few minutes, if the person then got into a car, or four or five hours, if the person went to a cinema or restaurant. Acconci carried out this performance everyday for a month. And he typed up an account of each ‹pursuit›, sending it each time to a different member of the art community.Acconci, who until then had been active as a poet, started as of 1969 to himself perform what he would otherwise have written. Through to 1972 he developed over 200 conceptually structured and radical body-related pieces and performances, that were extremely simple in formal terms, but psychologically highly intricate. The took place in part with and in part without the audience and were documented in photos and films. Many of them were performed on the streets of New York, others in interiors, above all galleries. His performances stand out for the use and experience of his own body, as well as the reflection on and redefinition of the relationship between public and private spheres. By disappearing in the anonymity of the streets Acconci not only penetrates real space, but also essentially endeavors to integrate art into everyday life, such that art itself »disappears«.
- Sophie Calle (1953) is a French writer, photographer, installation artist, and conceptual artist.After traveling around the world for 7 years, at the age of 26 and not knowing what to do, she tried to acquaint herself again both with the city and people of Paris.This ultimately led her to start following strangers and photographing them. Soon she realized that by following and taking photographs of strangers she could create their profile, a portrait of shorts.In 1980, for a piece she later named 'Suite Vénitienne', she even followed a man ( whom she had previously met at a party ) from Paris to Venice.‘For months I followed strangers in the street. For the pleasure of following them, not because they particularly interested me. I photographed them without their knowledge, took note of their movements, then finally lost sight of them and forgot them.
- At the end of January 1980, on the streets of Paris, I followed a man whom I lost sight of a few minutes later in the crowd. That very evening, by chance, he was introduced to me at an opening. During the course of our conversation, he told me he was planning an imminent trip to Venice.’"In my work I do things that I would never do in my life. In normal life I am much more discreet. I am not intrusive. I don't investigate my friends' lives. But if it's a project then it's different," she says.
- "The shadow" (1981), one of Calle's most fascinating pieces, is composed of photographs taken by a private detective who was hired by Calle's mother to follow her (who did so, unbeknown to him, under Calle's instructions). While being followed Calle walked through parts of Paris, continuing her daily habits, trying to "show" the private detective her favourite spots."...These works had involved me so much in the act of following that I wanted, in a certain way, to reverse these relationships. So I asked my mother to hire a private detective to follow me, without him knowing that I had arranged it, and to provide photographic evidence of my existence."Calle kept notes of her own movements and wrote a description of what happened each day as well as making a series of photographs of what she saw herself.These two contrasting points of view of the same period of time - the detectives' report and photos and her own diary and self-portaits - were exhibited as the final piece of work.
- Robin Rhode is a South African artist who creates beautiful street art by transforming simple shapes and objects into elements of narratives. Rhode usually works in public spaces, using walls, public basketball fields or just the street as his “canvas”. His preferred materials are easily accessible ones like charcoal and paint. As a result, his works stand out through their simplicity and their formal clarity, emphasizing the idea over lavishness of production.
- Rhode believes art has a definite practical function and educational potential, which is partly the reason why he gives his art what he calls "real life form". He aspires to be entertaining and for his audience to be judgmental. Self-deprecating and very self-aware, Rhode has invented a word and life philosophy that he believes should be consciously applied at least once a day: Selfinkoozamentadj. having a proper sense of one's own dignity and integrity; being selfinkoozaful, orselfinkoozaing ('Kooza' derives from a Venda word meaning support) In his performance work, he blurs the usually clear-cut boundaries between illusion and reality by attempting to interact three dimensionally with a two-dimensional drawing, playing on the modernist notion of the artist as 'creative genius'. Although they inherit all the conventional qualities of drawing (charcoal on white ground) these drawings are made to appear as 'fictitious' as possible, creating an intense awareness that no matter how great the genius, a representation remains just that. All his works thus far are a prequel of things to come - "like Star Wars" he says.
- Francis Alÿs (born 1959, Antwerp) is a Belgian artist. His work emerges in the interdisciplinary space of art, architecture, and social practice. After leaving behind his formal training as an architect and relocated to Mexico City, he has created a diverse body of artwork that explores urbanity, spatial justice, and land-based poetics. Employing a broad range of media from painting to performance, his works examine the tension between politics and poetics, individual action and impotence. Alÿs commonly enacts paseos—walks that resist the subjection of common space. [1] Alys reconfigures time to the speed of a stroll, making reference to the figure of the flâneur, originating from the work of Charles Baudelaire and developed by Walter Benjamin. [2] Cyclical repetition and return also inform the character of Alÿs’ movements and mythology—Alÿs contrasts geological and technological time through land-based and social practice that examine individual memory and collective mythology. Alÿs frequently engages rumor as a central theme in his practice, disseminating ephemeral, practice-based works through word-of-mouth and storytelling.