Lab Criativo Aula 05 Descontinuidade Com o Outro 2013

8/12/2019 Lab Criativo Aula 05 Descontinuidade Com o Outro 2013

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CEART- UDESCARTE NO CAMPO

LABORATRIO DE CRIATIVIDADE

Jos Luiz Kinceler

2013


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DESCONTINUIDADE COM O OUTRO


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Donald Judd

Jacques Lipchitz Figure 1926-30 bronze, 87" H, 38" W, 28"

Objetos especficos


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Estruturas axiomticas / No Arquitetura - Arquitetura

Bruce Nauman corredor de luz verde 1970

Robert Morris


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Robert Morris Sem ttulo, 1965


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Construo localizada / Paisagem - Arquitetura

Robert Smithsonconstruo parcialmente enterrada


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Nancy Holt.

Sun Tunnels , 1973-76

Lucin, Utah


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Donald Judd (1928)Sem Ttulo, 1970

Alumnio anodizado, Plexiglass azul

cada caixa 9 x 40 x 31 1/2


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Donald Judd (192Sem Ttulo, 1971

Alumnio anodizado

cada cubo 4 x 4 x 4


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Donald Judd (1928-1994)Sem Ttulo, 1964Chartreuse oil on wood andyellow enamel on iron49.5 x 122 x 86.4 cm

Please credit: Joseph Helman, New YorkCopyright: Estate of DonaldJudd/VAGA, New York/DACSLondon 2003


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Bruce NaumanCorredor de luz verde, 1970


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Wheller


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O processo de transformao

No final dos anos 60 houveram uma srie de mudanas no mundo da arte queera um reflexo das mudanas que estavam acontecendo no mundo real;

Algumas caractersticas da arte ativista:

1. PROCESSUAL Cobra significado tanto em suas formas quanto seus mtodos, pois a importncia est em seu processo de realizao e recepo;

2. ESPAOS PBLICOS Geralmente em locais pblicos e no em locais deexibies habituais do mundo da arte;

3. INTERVENO TEMPORAL Utiliza performance , acontecimentos nosmeios de comunicao, exposies e instalaes;

4. TCNICAS DOS MEIOS DE COMUNICAO Grande parte utiliza vias publicitrias, cartazes, publicidades em nibus, metr, peridicos;

5. MTODOS COLABORATIVOS Importncia na investigao preliminar e naatividade organizada e na orientao dos participantes.

Pode-se dizer que as prticas culturais ativistas so essencialmentecolaborativas;

As obras dirigidas a grupos especficos, como as mulheres, estudantes, vtimasda violncia sexual, etc., freqentemente tais grupos tomam parte ativa juntocom os artistas.


14/82Hans Haacke


15/82Hans Haacke


16/82Hans Haacke


17/82Hans Haacke
http://www.sla.purdue.edu/WAAW/Cohn/Artists/Lacystat.html


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In Mourning and in RageMedia event memorial for Victims of Hillside Strangler

Los Angeles, CA, 1977, Suzanne Lacy
http://www.sla.purdue.edu/WAAW/Cohn/Artists/Lacystat.html


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Sharon Anderson, Assistant Director of the

Hubert H. Humphrey Institutes ReflectiveLeadership Program created a several monthprogram to explore leadership styles of 35women from across the state. The women werethe subject of a photographic series by KarenBacig and a video by Linda _________. Severalof these women became the Crystal Quilt

leadership team, featured often in local media,to advise on the performance and recruitperformers from across the state. They alsoformed the nucleus of the project that continuedwith funding for a year after the performance.


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On Mothers Day, 430 women over the age of 60were performers in an hour-long tableau that waslive broadcast by public television. 3000 people

attended the performance staged on an 82 footsquare rug with tables placed to resemble a quilt(designed by painter Miriam Shapiro) and listenedto an accompanying soundtrack that mixed thevoices of 75 women talking about aging (bycomposer Susan Stone). Speakers mixed personalobservations and reminiscences with socialanalysis about the unutilized potential of the elderly.

While audience listened to the soundtrack, real timeconversations between the women echoed thesame themes. Between ten minute intervals, a looncry or thunderclap rang out through the space,signaling the women to change the position of theirhands on the table, thus changing the design of the

quilt. At the end of the performance, the audiencebrought hand-painted scarves as they flooded ontothe stage, disrupting the austere order of the quiltdesign to create a crazy quilt of color, greeting thetriumphant performers. This performance was live-broadcast by KCET public television


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.La realidad est siempre por definir. Si por un lado es as,por otro lado la representacin tiene de algn modo que

provocar un "cierre de sentido" en dicha realidad.Entindase: cierre no como limitacin o reduccin de sentido,pero s como seleccin de posibilidades. Al representar hayque descartar y elegir ciertos aspectos, disposiciones,

comportamientos, caracteres, acciones, sucesin de hechos.Y, sobre todo, hay que acoplarlos entre s, vincularlos,coherentemente, organizarlos. Un cierre de sentido es laconexin de distintas posibilidades, la determinacin de sucumplimiento: esto es lo que comporta una representacin.

Jos Garca Leal, Arte y conocimiento, granada, 1997, p 143


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Hartford Grandmothers Project Wadsworth Atheneum

http://www.americansforthearts.org/animatingdemocracy/resource_center/profiles_content.asp?id=215Project Description: The Wadsworth Atheneum invited artist Peggy Diggs, whosework addresses issues of domestic violence, to develop a public art project inconjunction with a museum exhibition tracing the evolution of her work from studioto the public sector. Diggs' resulting Hartford Grandmothers' Project (1993-94)addressed the fear of city streets experienced by elderly women living in the city.The women's anger was primarily directed at teenagers whom they viewed asresponsible for an escalation of violence.The public art project took the form of scratch-off lottery tickets. One side of eachcard included excerpts from a conversation Diggs had with an elderly womandiscussing the decline of personal safety in the streets of Hartford. The other siderevealed the words of a teenager on the subject of crime and the fears of the elderly.The sheets of scratch-off cards were distributed on one day in an edition of the city'sdaily newspaper, The Hartford Courant. At first reluctant to circulate the angrycomments to the community at large, the newspaper later reevaluated its role andresponsibility in the representation of the city's realities for particular citizens.Civic Engagement/Dialogue: Diggs spent one year interviewing elderly women insenior citizen centers, churches, parishes, and in their homes. Their personal storieswere later incorporated into the "artwork." Diggs met with teenagers in housingprojects with the help of the Institute for Community Research, school officials, andmembers of the clergy. Throughout the summer and autumn following the Courant'sdistribution of the cards, Diggs returned to coordinate meetings bringing togetherthe elderly women and teenagers for conversation with each other.Information Sources: Phillips, Patricia C. "Peggy Diggs: Private Acts and Public

Art," But Is It Art? The Spirit of Art as Activism. Seattle: Bay Press, 1995.; exhibitionbrochure.


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Christho


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Running FenceSONOMA AND MARIN COUNTIES, CALIFORNIA, 1972-76

The 1,000 Yard Limit - Running Fence

Christho


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The Coast Crew - Running Fenc

Christho


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Walter de MariaCampo de raios, 1977


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Gillian Wearing ( 1963, nasceu em Birmingham/ vive e trabalha em Londres )


28/82Gillian Wearing

Signs that say what you want them to say and not signs that saywhat someone else wants you to say, 1992 - 1993


29/82Gillian Wearing10 - 16, 1997. VideoProjection, c 15 min.


30/82Gillian Wearing


31/82Gillian Wearing10 - 16, 1997. VideoProjection, c 15 min.


32/82Wodiczko


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( hasta que encuentres otra SCHWALBE amarilla )

( 40 fotos ) 50,5 x 55 x 6 cm, c/u. 1995

Gabriel Orozco


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I like Amrica and Amrica l ike me -1974

A escultura deve semprequestionar obstinadamente aspremissas bsicas da culturapredominante. Esta a funo detoda arte, que a sociedade estsempre tentando suprimir. (...)Somente a arte torna a vida possvel- assim radicalmente que eugostaria de formul-la. Eu diriaque, sem a arte, o homem inconcebvel em termos fisiolgicos

Joseph Beuys


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Colunas de basalto para 7000 robles - 1984 Joseph Beuystexto


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Felix Gonzalez-TorresUntitled (ROSS), 1991.

Candies wrapped in vaiously coloured cellophane,

unlimited suply, ideal weight: 175 Lbs, DimensionsVariable


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Peggy Diggs

Peggy Diggs

DOMESTIC VIOLENCE MILCARTON PROJECT/ Milkcartons1992


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http://www.americansforthearts.org/animatingdemocracy/resource_center/profiles_content.asp?id=180


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Project description: The Three Rivers Arts Festival in Pittsburgh includes a public artprogram in which artists develop temporary public artworks based on the historical,cultural, and environmental character and issues of the city. The festival's 1993"Sculpture at the Point" exhibition included an outdoor installation by Suzanne Lacy on

the subject of domestic violence. Lacy's project, Underground, was organized around alength of railroad tracks laid in a park setting at the center of the festival site. Along thetracks, rusted and crumpled junk cars inscribed with statistics and the tragic statementsof victims symbolized the stories of domestic abuse. A poem written by the artist about awoman escaping domestic violence was inscribed into the wooden railroad ties. The finalcar along the route, filled with suitcases and stories of escape, offered a vision of hope.

At the end of the tracks was a telephone booth with an interactive line where participantscould learn where to get help, leave their own messages and meditations, and listen tothe voices and messages of other women.Civic Engagement/Dialogue: Before the project, Lacy collaborated with the staff andsurvivors of the Women's Center and Shelter of Greater Pittsburgh. A coalition, formedfor the project, consisted of volunteers from police departments, legal and medicalprofessionals, and survivors themselves who staffed the phone lines of a local domestic

violence shelter. As many as 500,000 festival visitors saw Lacy's public art work, andLacy received hundreds of messages from festivalgoers at the phone booth.Information Sources: Phillips, Patricia C. "Everybody's Art: Long-term Supporters ofTemporary Public Art." Public Art Review. Forecast: St. Paul, Minnesota, spring/summer1994. Kelly, Jeff. "The Body Politics of Suzanne Lacy." But Is It Art? Seattle: Bay Press,1995.Pittsburgh, PA, Primary Artist(s):

Suzanne Lacy


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WE ARE THE FUTURE Car Card / FUTUREPeggy Diggs1994-5


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42/82Jenny Holzer


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Christian BoltanskiAdvento , 1995


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Raquel WhitereadCasa , 1993

Modelagem de cimento


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Homeless projeccin1986-87Projeo pblica sobreo monumento aos soldados

E marinheiros da guerra civiBoston.

K. Wodiczko


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Krzysztof WodiczkoTrabalho de Projees pblicas 1988Pro e o na fachada do Hirshhorn Museum Washi ton DC


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Carsten HllerLos Toboganes como Arte

The Unilever Series: CarstenHller. "Test Site".Tate Modern. Londres.Del 10 de octubre 2006al 9 de abril de 2007.


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Paul Ramrez Jonas Mi casa, Su casa, 2005


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Suzan Leibovitz Steinman Urban Apple Orchard


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Suzan Leibovitz Steinman Gardens to go


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Suzan Leibovitz Steinman Gardens to go


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Haha, Grupo colaborativo(Richard House, Wendy Jacob, Laurie Palmer, and John Ploof, who met at the School of the Art

Institute of Chicago in the '80s)

" Flood Site (from "Culture in Action")", 1993.

Hydroponic garden.


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Produzir experincias de domnio pblico implica concebersituaes coletivas de produo de sentido com refernciaao contrato social, implica produo de identidadescircunstanciais, produo de contextos mveis, produo delocalidades diariamente negociadas. criar no sentidoartstico maneiras mais efetivas de fazer do jogo de

frico social entre modelos, e da negociao circunstancialdos usos do espao e de suas zonas de inestabilidade, um processo que transparente a viso da estrutura da totalidadeda rede. / O.S


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Projeto Quietude da TerraFrance Morin

Vida cotidiana, Arte Contemporneae projeto Ax

Rivane NeuenschwanderQuarar agosto de 1999


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Projeto Quietude da TerraFrance MorinVida cotidiana,

Arte Contemporneae projeto Ax



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Projeto Quietude da TerraFrance Morin

Vida cotidiana, Arte Contemporneae projeto Ax



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http://startex06%28%29/


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Rikrit Tiravanija The Land1998 200....

Begun in 1998, The Land, as Tiravanija explained, "was
http://startex06%28%29/http://startex06%28%29/http://startex06%28%29/http://startex06%28%29/http://startex06%28%29/http://startex06%28%29/http://startex06%28%29/


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Begun in 1998, The Land, as Tiravanija explained, wasthe merging of ideas by different artists to cultivate aplace of and for social engagement. It's been acquiredin the name of artists who live in Chiang Mai. We've

been trying to find a way to turn it into a collective, andto have the property owned by no one in particular, butthat's one of the hardest things to do in Thailand. Wecannot be a Foundation." The undoing of ownershipstrikes at the heart of what Tiravanija is trying to dowith the project since, as he emphasized, "The Land isnot a property." And to the question, then, "Is TheLand an art project?" the artist replied: "We don't wantto have to deal with it as a presentation to the artstructures, because I think it should be neutral; and,it's also one of the reasons why it's not aboutproperty." Indeed seeming to underscore this are thetwo working rice fields positioned in the middle of theLand and monitored by a group of students from theUniversity of Chang Mai and a local village. Theharvest, cultivated using traditional Thai farmingtechniques, is shared by all participants involved .


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The Land - 1998Rikrit Tiravanija


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Montien Boonma and Rirkrit Tiravanija A quietude da terra projeto Ax - France Morinuntitled 2000 (let it go)
http://www.thequietintheland.org/brazil/gallery.php?id=boonma-tiravanijahttp://www.thequietintheland.org/brazil/gallery.php?id=boonma-tiravanijahttp://www.thequietintheland.org/brazil/gallery.php?id=boonma-tiravanijahttp://www.gavinbrown.biz/artists/tiravanijapics/tiravanijapic06.html


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http://www.gavinbrown.biz/artists/tiravanijapics/tiravanijapic06.html


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The Land - 1998Rikrit Tiravanija

lote de terra queTiravanijacompra na vilade Sanpatong,perto de Chiang Mai,

Tailndia.


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Thomas Hirschhorn Muse Prcaire Albinet

Atelier d'enfant

http://www.leslaboratoires.org/cms_design/news/index.php?was=news&wo=news&do=news&okat=42


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Thomas HirschhornMuse Prcaire Albinet", 2004,

Aubervilliers(montage de l'exposition Andy Warhol)


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Thomas Hirschhorn "Muse Prcaire Albinet", 2004, Aubervilliers(Exposition Kasimir Malevitch )


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Thomas Hirschhorn"Muse Prcaire Albinet", 2004, Aubervilliers(montage de l'exposition Marcel Duchamp )photographe : Emilie Lamy


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Vdeos Operrios danando mOnica narda Ronald macronald

Lab Criativo Aula 05 Descontinuidade Com o Outro 2013

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