Open lecture : Dessiner l’autre espace

Dessiner l’autre espace : trois types de géo-mentalité postdramatique

 

Yi-hua WU

Arts Plastiques, Université de Paris 8

© theatercombinat

Nous nous appuyons sur le questionnement des pratiques artistiques architecturales pour régénérer les activités quotidiennes dans l’espace urbain et redonner une valeur aux lieux existants. Ces pratiques ont évolué depuis le Situationnisme des années 60. 
Comment les artistes contemporains produisent-ils ‘l’autre espace’ ? Comment l’appropriation temporaire de l’espace-résidu et des interstices urbains permet-elle de re-collectionner et de reconstruire? 
C’est une architecture furtive que nous pourrons créer plutôt avec les activités liées à l’architecture, dans le sens d’une situation, d’un dispositif, d’une intervention, d’un processus, mais pas d’un produit final comme la construction d’un bâtiment. Cette architecture qui surgit dans le contexte social urbain, manifeste une geo-mentalité artistique.
Dans cette proposition, je vais utiliser trois exemples, comme trois stratégies différentes de géo-analyse artistique: l’heteropia de bambiland de theatercombinat, l’omnitopia de the invisible reality show de helloearth et l’atopia du Day of the figurines de Blaste theory. Avec leur dispositif discursif/ mobilisable qui utilise la technologie, un terrain de débat politique & esthétique apparaît.

Publishing: Day of the Figurines, un théâtre techno-nomade

I’ve just published an article in french >Day of the Figurines, un théâtre techno-nomade< in a geneva-based on line cultural magazine Genève Active ->http://www.geneveactive.com/?p=559 ( 6th nov. 2008)

ps. I’m also in the game now. My figurine is like me who dresses in yellow jacket!

and i keep working on Bambiland of theatercombinat…

台灣公共藝術 V.2

我還記得1998年在台灣藝術大學的時候，我參與籌辦了一場『公共藝術節』的展覽與講座，當時可是公共藝術在台灣藝術學術系統的首部曲，而正規的學術課程卻對此漠視，因此也理所當然產生了一堆對『公共性』的不甚瞭解的藝術家，以為把雕塑『裝置化』到公共空間就以為是『公共』藝術，以『美化』公共空間，事實上這往往變成只是藝術家個人英雄主義的發表形式，作品從藝廊走向公共空間的放大效果，這也正是一種現代主義藝術的歷史性危機的一部份，正如Thierry de Duve 在“Ex situ.”中，他認為作品必須是在地點（土地上的、領地上的、認同感的文化附屬物）、空間（在收授參照坐標上的文化協調）與比例（以人體做為所有測量的基準）這三個要素上協合，一個基地(situ)才算真正地成立。他在現代主義藝術作品之『公共化』過程中，認為真正的社會性空間並沒有被創造，而公共性也諷刺地成為被犧牲掉的元素。如此，在一個「site」已消失的時代，「in situ」藝術如何可能？這個反省今天成為當代藝術的新課題，藝術生產的空間必須跳開白盒子與黑盒子的魔咒，以更靈巧也更政治地（藝術的民主）的參與脈絡化、情境化創作來植入在地與人心。

轉眼十年過去，公共藝術在台灣走過了一段摸索期，欣見文建會在今年終於修改了公共藝術設置辦法，讓公共藝術的意義多元化『擴大』，補充相關實施細節法令的不足等等，公共藝術在台灣的『另一個階段』，我們拭目以待。

公共藝術再起飛 公共藝術設置辦法修正條文發布施行 

>One Island, One Dream< in Nightmarket

夜市工作坊自2006年夏天創立以來，每年聚集來自設計,科技,藝術,音樂,建築等等…跨領域地集合各科系不同領域的學子參與，針對”夜市”與”台灣文化”進行創作。今年以『街頭經驗』為題的夜市工作坊，由吳宜樺與阿麗莎.懷特兩位藝術家所帶領的團隊，二OO八年八月十六日晚間，在台灣台南市的花園夜市進行了『One Island, One Dream_愛台灣，去夜市唱國歌』的開放性集體行動表演。

Night Market Workshop focuses on the social context of the Taiwanese night market. It attempts to respond to it by organising creative activities since summer 2006 and participation is not limited to artist student but it opens up the participation to students from all kind of different disciplines as computing science, design, architecture, etc. The theme of this year is on Street Experience, which means that all the projects are presented and played in the night market with the intention to interact with people.

The Group lead by Paris-based artist Yi-Hua WU (TW) and New York-based artist Alyssa Wright (USA), has presented an open participative performance – < One Island, One Dream > on 16th August 2008, at 20h, at Garden Night Market in Tainan city, Taiwan.

Game-performance as a new paradigm

In London, artist as a dealer of thrilling experience in the public space, but not the police, not the pickers and stealer, not the terrorist… I always believe that people who lives in those megacities like London, Paris, New York, really needs some kind of city-psychotherapy like this. 

Hide and Seek is a festival of social games and playful experiences, running in London from the 27th to the 29th of June 2008. It will encompass everything from fine artists making location-based work to huge flashmob games within the public spaces of the Southbank Centre. This year sees projects from Blast Theory, Gideon Reeling, Momus, Jane McGonigal, and Coney, as well as parties, seminars, and a bunch of low-tech, high-fun games from the Sandpit.

Claire Doherty : From Studio to Situation

A thrilling book … despite it focuses on contemporary art, it is potential to expand the field of research upon some experiment performance/theatre as well.  

Contemporary Art: From Studio to Situation

This book, edited by Claire Doherty and published by Black Dog Publishing, describes the shift in focus that has taken place in much contemporary art practice in the last decade. From the notion of relational aesthetics to the concerns of site-specificity, this book provides a new critical investigation into the production and curation of contemporary art. Including reprints of seminal texts alongside new essays, interviews and case studies by leading international artists, writers and curators, this anthology provides an overview of this increasingly significant (and contested) field of art practice.