GOODBYE!!!

This class has done more for me than just learn about relational aesthetics. It has helped me place it into my own studio practice of ceramics. An otherwise misinterpreted medium by others as purely the art of making cups and bowls, I've come to learn that ceramics is an original instigator of relational aesthetics. The objects themselves act as a catalyst for conversation and relationships, between artist and audience as well as the audience with eachother. For once I have been able to relate a core theory subject back to my own practice. It took a while but now that I have finally made the link I have enjoyed the classes more. Good bye THAP forever!!!! Xx

Tea Garden

Lucas and Diego's garden acts as a catalyst for conversation, bonding and therapy. I love how members of the community have already gotten involved with this project, including Betty. I think this garden has the possibility to engage with so many people and thus every person who comes in contact with it will take away something different from the experience. Some will have a full stomach, a clear mind, a new friendship? I personally would like to engage further with this project perhaps making a tea set for diego's "Tea Garden" or perhaps involve the art therapy unit in Callan Park with this work.

Although many of us might find it difficult to understand how this can be art, i think its a great project and could play a vital role in our remaining time here at SCA

Aesthetics and politics -Nikos Papastergiadis

The idea that documentation is vital to the way we perceive, address and cope with certain situations and events is evident in the work of Lucy & Jorge Orta, Fallujah–In the Name of God. This work consists of a collection of images of war, american soldiers graves, funerals and George Bush, framed by slightly opened ambulance doors. These carefully chosen images evoke certain feelings and emotions which Studio Orta would like its audience to address.

Papastergiadis also addresses this in the reader, in regards to 9/11. He comments on how the repetition of images and other documentation reiterated that sense of pain, shock, disbelief and horror of the attacks days, months and even years later.

Laibach

Upon looking at a Laibach video, i immediately thought the group was somewhat part of a neo -nationalist movement. however through more research i realised the groups motives were both questioning and ironic. this is evident through there use of appropriation of pop lyrics, clothing as well as nationalist symbols.

http://www.laibach.nsk.si/


How the West has Won Lyrics


Come let us prepare
We brothers that are
Joined on this merry occasion;
Let's drink, laugh and sing;
Our wine has a spring,
Here's health to the men of the nation.

The world is in pain
Our secrets to gain
But still let them guess and gaze on;
They'll never divine
The word or the sign
Of free and strong men of the nation.

It's this and it's that
They cannot tell why
So many great men of the nation
Should aprons put on
To make themselves one
With the men who have found their salvation.

Then joined hand in hand
To each other we'll stand
Be merry with bright faces on;
What mortal can boast
So noble a toast
As free and strong men of the nation!

Postal Chairs

Public art is a site specific artwork which is there to either make a political statement, “beautify” a certain public area, create an interaction with the space and the audience or to make an unused space useful.

A great example of a public artwork is Postal Chairs by the Graffiti Research Lab. They create portable chairs out of postal boxes and masking tape and place them in very prominent areas in NYC where there are no places to sit. In the footage on their website you can see people utilizing the artwork to relax, eat lunch, take photographs… all with the comfort of sitting on a chair rather than the floor or leaning against the wall.

This is a great example of a public artwork as it interacts productively with the audience, fills a sense of need, is not disruptive or intrusive, and results in a great response from the audience.

http://graffitiresearchlab.com/projects/postal-chairs/

WochenKlausur

Someone once said to me, “don’t take art too seriously, it’s not like we are saving lives here...”

I am drawn to this idea that art can in fact change/improve a society, and the way humans can successfully coexist.

“ There are problems everywhere that cannot be solved using conventional approaches and are thus suitable subjects for artistic projects.”

I really like this idea that art is helping those who need helping. Not through ideas or concepts but through action. I think this is a very important concept for us as artists to maybe pursue. The idea that one’s art can in fact save or better a life appeals alot to me ...

http://www.wochenklausur.at/methode.php?lang=en

Situationism

From what i have understood from my research, Situationism was formed in 1957.The situationish International made evident, the priority of real life and real live activity. This made for a movement which continually experimented and corrected itself. I think because of this it is difficult for one to explain totally what situationism is about. They were influenced by Dada, Surrealism and Lettrism.

Arty Party

I am almost annoyed at this notion that art has to be democratic. Should we have to "settle" our concepts and art so that it attracts a wider audience or create an interactive work purely to create an "Arty Party?"

Must Art always be understood? Cant it be purely looked at and appreciated by those who may not be as "intellectual" as us art folk?

Just as we as artists all have differing views on an artwork so will non artists. Why segrigate the audience or "social community" into groups?

I dont understand how the artists role in the process of a work is changed by who views or understands the work.

I believe art is for everyone however i do not think that it is our role as the artist to create an interactive work purely for attracting a wider audience(in theory).

What are these works without the constant presence of the audiences participation?

Relational Aesthetics

I find it interesting that in Relational Art, the artist is no longer the centre of the work. Carriere states that "...The artist instead, is the catalyst. They kick-start a question, frame a point of consideration, or highlight an everyday moment. And then, they wait. They wait for a response from the random stranger, the passer-by, the usual suspect" With this type of art..."

It is so different to my own understanding of what art is and how the audience should view and respond to ones work... its made me curious to see a Relational artwork live, to experience this social environment which these artworks tend to create.

"the role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real, whatever scale chosen by the artist." (Bourriaud 2002:13). i find this quote quite interesting as i find it diffiucult to understand how an artwork can be a way of living.