Site-Specific Art

Touching impermanence describes the experiential moment in an art encounter when​ one senses the enchanted reality of one's interconnections wit the sentient matterflow​ of existence. All matter in existence is constantly vibrating, changing,​ assembling and evolving into forms and organisms, cycli through decay and​ disintegration, then reforming again with diversity and difference; this is the​ impermanence of sentient matter-flow. Humans are j one form of these reciprocal​ assemblages; we are within and part of sentient matter-flow. We also co-create with​ sentient matter-flow, changing the cycles on micro and macro levels, just as they​ change us. On a macro level human actions have impacted and changed the Earth's​ biosphere, altering polluting sentient matter-flows to the extent that our present​ time period is becoming known as the Anthropocene, the human age of destruction​ an disconnection. There are many efforts to readdress our anthropocentric feelings of​ apathetic disconnection from the Earth; one is found in the arts correlates with my​ practice-led research.​ This doctoral study of sensate experiences of materiality and haptic thinking, which​ provide both maker an audience with direct palpable experience of time, forms a​ specific understanding of touching impermanence. My art processes involve working​ with ta materials such as beeswax; tree branches, stumps and bark; paper; ash;​ rocks; ice; snow; charcoal; light and fungi. Engaging with these materials cocreatively​ involves a methodology of touch, multisensorily following materialities'​ sentient matter-flow. Acting with the material, I am present to th material's own​ sense of time, interactions, agency, histories, layers of interbeing and interconnections​ with surrounding matter. This requires being op to the mysteriousness of materials,​ inviting moments of enchantment within art encounters and the realisation of touching​ impermanence. This thesis investigates my studio practice and works produced,​ alongside related practices of Australian and international artists, by drawing on the​ intersection between New Materialism discourses and Buddhist philosophy to​ address aspects of phenomenology and eco-philosophy in the complexities of these practices and artwork encounters. URI:

The Barkley Marathons is an infamously brutal endurance trail race, having only been completed by 15 runners in its 30-year history. It takes place in the rugged Appalachian Mountains of eastern Tennessee, is approximately 130 miles long, and must be completed in under 60 hours. Its rules follow a unique set of constraints specific to the contours of the local topology, to the history of incarceration in the area, and to the idiosyncratic aesthetics and ethics of the race's two founders.

Considered as a form of constraint-based endurance performance art (which it is admittedly not), the Barkley Marathons suggest a "found" approach to performance constraints: an approach that puts performance in a more direct and fine-grained relationship with the details (geological, topological, meteorological, botanical, human-historical, non-human-historical) of the world in which (and with which) the performance occurs. The race opens out onto the mountains at multiple scales, multiple speeds, and along multiple vectors; and in turn, these particular mountains are allowed to have their own specific, non-generic influence on the form and style of the event.

Drifting Bodies / Fluent Spaces, international meeting/conference and exhibition on walking arts, in collaboration between Lab2PT / UMinho - Made of Walking (VII) and the City of Guimarães - Portugal.
Below you can read the announcement of the open call for walking arts papers, posters, art projects, walkshops and walks, and for art works to be included in our meeting/conference and exhibition in Guimarães - Portugal, during July 2020.
We look forward to your participation.

Drifting Bodies / Fluent Spaces, encontro/conferência internacional e exposição sobre artes de caminhar, numa colaboração entre o Lab2PT / UMinho - Made of Walking (VII) e a Câmara Municipal de Guimarães - Portugal.
Abaixo, poderão encontrar o anúncio da abertura de chamada para artigos, posteres, projetos de arte, walkshops /caminhadas e obras de arte, sobre artes de caminhar, a serem incluídos no nosso encontro/conferência e exposição em Guimarães - Portugal, durante o mês de julho de 2020.
Aguardamos a vossa participação.

Lo spazio non è l'ambito (reale o logico) in cui le cose si dispongono, ma il mezzo in virtù del quale diviene possibile la posizione delle cose. Ciò equivale a dire che, anziché immaginarlo come una specie di etere nel quale sono immerse tutte le cose o concepirlo astrattamente come un carattere che sia comune a esse, dobbiamo pensarlo come la potenza universale delle loro connessioni 1 . * Parte di questo saggio è stata presentata in occasione del convegno Vous avez dit sculpture?, tenutosi a Parigi, presso il Grand Palais, durante l'edizione del 2008 della mostra temporanea Monumenta.

Book Reviews 287 qr Michelangelo and the Viewer in His Time . Bernadine Barnes . London: Reaktion Books, 2017 . 264 pp . 15 b&w and 55 color illus . £14 .95 . ISBN 978-1-78023-740-4 . Reviewed by: Christine Zappella The University of Chicago

A comunicação é um recorte da pesquisa de mestrado, que investigou certas práticas artísticas a partir da década de 1960 que puseram em xeque o sentido e o lugar comumente praticados pela arte ao engendrarem uma nova consciência do meio físico e social. Originárias da tradição moderna, elas projetaram o campo da arte para além dos gêneros artísticos, buscando expandir a noção de escultura em termos espaciais, temporais e experienciais. Para tanto, a dissertação elegeu o site specificity como exemplo de novas práticas artísticas, engajadas na problemática urbana, ao repor o problema do lugar diante do enrijecimento da autonomia da arte e da crise da forma. O particular interesse em práticas motivadas pela lida mais direta com a cidade pós-industrial vem de encontro às evidências de um mundo cada vez mais urbanizado, onde a cidade é palco das relações sociais, culturais e políticas. 
This paper is an excerpt of the Master thesis, which investigated certain artistic practices from the 1960s that put into question the meaning and the place commonly practiced by the art to engender a new awareness of the physical and social environment. Originating in the modern tradition, they engineered the field of art beyond the artistic genres, seeking to expand the notion of sculpture in spatial, temporal and experiential terms. Therefore, the dissertation elected site specificity as an example of the new artistic practices engaged in urban issues, to reset the problem of the place before the hardening of the autonomy of art and the form crisis. The particular interest in artistic practices motivated by the most direct deals with the post-industrial city comes against the evidence of an increasingly urbanized world, where the city is host of social, cultural and political.

of the Anthropocene concept into artistic discourses and practices pertains to the reevaluation of art's relation to rationality. 2 Our contention here is that far from simply strengthening or rehabilitating an all magnitudes within our present should have the reinvigorating effect of questioning yet again art's potency for knowledge and rational explorations.

This paper will examine how site, sponsor, and audience impact the inherent meaning and function of an artwork. In studying three recently completed commissions by artist Katharina Grosse, it is clear how traditionally non-art-related industries are using the contemporary art to validate their enterprises and also taking on the role of art collectors, curators, and critics. In doing so, what social and aesthetic values are they supporting and how do these curatorial decisions affect art and society? In the case of Katharina Grosse, her commissioner or patron dictates the site of her installation, which can vary widely between swaths of vacant land visible only from a passenger train, to a beach, to a corporate campus.

Il contributo intende trattare alcuni aspetti relativi all’arte poliedrica dell’artista sarda Maria Lai, considerata una delle menti più dinamiche e significative nel panorama dell’arte contemporanea, attraverso l’analisi di alcune sue opere. Il suo linguaggio narrativo aderisce ad una poetica di connessione tra gli elementi che lascia sempre intatto il senso polimaterico e multisignificante delle parti unite, dapprima attraverso il segno cucito e successivamente attraverso opere nello spazio esterno e azioni di arte partecipativa. Sottolineando che tutto è collegato – il presente con il passato, la conoscenza trasversale con l’immaginario collettivo – la Lai esprime una percezione del senso dell’arte che le permette di trasformare anche un oggetto quotidiano, nato per essere estetico ma funzionale, in un oggetto poetico, in un ‘generatore di riflessione’ capace di insegnare a sognare e a ricordare.

"The Unfixed Landscape" pairs the landscape photography of Meghann Riepenhoff and Matthew Brandt. While the physical practices of these artists vary—one develops cyanotypes while the other works with chromogenic prints—both are intent on engaging with the landscape in unconventional ways. Riepenhoff and Brandt challenge the standard expectations and understanding of what photography is. When the medium gained rapid popularity at the turn of the twentieth century, it was largely due to its reproducibility and accuracy in capturing the subject. These two artists push against these staples of the craft by instead making prints that are wholly unique and partially or completely abstracted. Their embrace of the genre of landscape photography is simultaneously a denial of these expectations. Nevertheless both practices cannot be extricated from the history of art, and photography specifically, that grapple with portrayals of nature. Indeed, it is fruitful to plumb Riepenhoff and Brandt’s work in order to place them within an art historical framework, something that has been not been done in depth until now.

There are two key ideas that will be highlighted through a historical framework that provide the foundation necessary for understanding the work within our present day study of the photographs. The motivations for creating the discussed noteworthy artworks from the past carry forward and are the same impetuses that Riepenhoff and Brandt are tapping into today, but with new approaches: they empower organic matter to take a role in depicting itself, thus placing themselves as collaborators with nature, and they introduce a terrain to an audience for whom it is foreign or distant through innovative techniques. Their continuation of this exploration in today’s contemporary digital landscape make their works relevant and worth our consideration.

In this essay, their artwork will be considered in the context of four historical periods and specific artists active during those periods that directly correlate with the conceptual intentions or physical practice of Riepenhoff and Brandt. The discourse focuses on the rise of cyanotypes during the mid-nineteenth century, nineteenth century Westward expansion landscape photography, the Land Art movement of the late 1960s, and the return to outdated alternative photographic processes and concern for materialism during the late 1960s.

In 1994 I organized an exhibition at the Museum of Modern Art in New York. It included seven artists, among them Rachel Whiteread. It was inspired by frequent visits to New York galleries, where there seemed to be more women artists showing than in the preceding years, and a significant number of them were using formal strategies associated with Minimalism, including geometric form, systemic approaches top art making, the grid, repetition and seriality. This essay afforded me the opportunity to consider Whiteread's work over a greater period of time and delve deeper into it and into its relationship to Minimalism.

This article proposes the term ‘site-situational’ art or performance as a meaningful shift beyond ‘site-specificity’ and as a way to develop forward-moving and relational understandings of place. While place falls prey to Western, modernist stereotypes of closed, territorial geographic systems, site-situational readings, radical forms of ‘recognition’ and ambulatory hermeneutics enable an understanding of place as a wandering signifier, a trickster figure, and an in-the-moment conversation between environments and living beings. Through an analysis of the 2009 Infecting the City performing arts festival in South Africa, the article links site-situational performance to situational understandings of identification in the context of migration and xenophobia. It connects the participatory creative resistance aspired to by the Situationists that transforms situations rather than just recognises them, to the potential mutuality that can be experienced when one recognises oneself in the face of a ‘foreigner’ as well as the potential culpability that accompanies pro-active recognition-on-the-run.

The dominant principle in Mark Wallinger's work has been described as establishing a critical approach to the 'politics of representation and the representation of politics'. 1 In 2007 he was commissioned by Tate Britain to install an exhibition in the Duveen galleries and created State Britain (fig.1), a large scale replica of a protest staged by Brian Haw in opposition to the economic sanctions in Iraq and the subsequent war. 2 The original protest began in 2001, with Haw setting up a one-man permanent peace camp in Parliament square which developed with contributions from the public including banners, messages and placards. After several efforts by the police to remove the protest, the Serious Organized Crime Act of 2005 that prohibited unauthorised protests within a one kilometre radius of the square was reintroduced, allowing the police to remove the protest almost entirely on the 23 rd May, 2006. 3 However, this action was later criticized as the conditions breached by Haw were unclear and the judge governing the case declared the new law unlawful and unworkable. 4 Wallinger's reconstruction consisted of over 600 banners, photographs, peace flags and messages stretching forty feet along the length of the Duveen which had been meticulously produced from photos taken by the artist in order to portray the protest as it was in its original state. 5 The location of Tate Britain was integral to the work as it lay on the edge of the antiprotest zone as prescribed by the new Act. By positioning the piece half within this line, Wallinger opened discourses around civil liberty and the freedom of expression that had been denied by state authority. 6

In this anthology chapter, I relate Miwon Kwon's different definitions of sites and site specificity to the field of street art. The case being studied is a photograph of two stencil works by the British artist Banksy and the artist collective Faile respectively.

Despite its massive presence on the world s art scenes and in international exhibition catalogues and coffee table books on contemporary art, and despite its obvious popularity among practising artists, audiences and art institutions alike, installation art is still an art form whose artistic vocabulary and conceptual basis have rarely been subjected to thorough and critical examination.
"Installation Art between Image and Stage" seeks to redress this absence, exploring how installation developed into an interdisciplinary genre in the 1960s, and how its special intertwinement of the visual and the performative has acted as a catalyst for the generation of new artistic phenomena. It investigates how it became one of today s most widely used art forms, increasingly expanding into consumer, popular and urban cultures, where installation s often spectacular appearance ensures that it fits into contemporary demands for sense-provoking and immersive cultural experiences.
Making an important contribution to the development of the critical and theoretical discourse on installation art, Ring Petersen addresses a series of basic questions: What is an installation? Which techniques does it employ? How does installation art affect its viewers? How can we explain the rise of installation art in a cultural-historical perspective, and why did it spread to most parts of the world in the late twentieth century, becoming a natural and ubiquitous part of globalised art scenes in the twenty-first century?
Answers to these questions are pursued through analyses of installation art s spatial, temporal and discursive aspects as well as its reception aesthetics and cultural-historical contexts, and through analyses of a large number of works from a variety of sub-genres, including performance installations, video installations, installational exhibitions and recent use of installation in commercial contexts, including artists such as Bruce Nauman, Olafur Eliasson, Mona Hatoum, Pipilotti Rist, Ilya Kabakov, Superflex, Thomas Hirschhorn, Carsten Holler, Terike Haapoja and ART + COM."

See the List of Content and an excerpt on the Publishers Website: www.mtp.dk

Whilst the majority of research and practice in the field of augmented reality (AR) concerns supplementing visible reality with virtual imagery, the concept of AR is not limited to such. What augments and is being augmented can be aural. This paper explores this alternative, providing an introduction to what is termed here 'aural augmented reality' (AAR). This paper includes a definition of AAR as well as a summary of the major research and practice in this area, which is presented under three headings: modes of delivery, positioning methods, and creative application. For the latter, music and sound art practices not previously linked to AR are introduced. The main motives for doing so are to raise the stature of AAR, advance its methods and provide a theoretical grounding.

Approaches to the multichannel spatialisation of electroacoustic music are described here with reference to musical case studies which focus upon the expressive functions of space and the theatricality of sound diffusion in an acousmatic context. A site-specific approach to spatialisation is proposed to enhance theatrical aspects of musical performance. Case studies include proposals for novel layouts of the diffusion system within the performance space and compositional techniques that are designed to re-evaluate our understanding of individual listening spaces.

Shing-Kwan Chan cites examples of performances that took place at the Great Wall in the 1990s and how the body and the individual were inserted into this historical and political monolith in order to confront the visible and invisible ideological meanings embedded within the concept of walls, something that continues to resonate today.
See: https://yishu-online.com/browse-articles/?1008

The current research essay forms a critical reflection on walking praxis and its aesthetic implications; bringing together artistic, performative, philosophical and technological threads. In this short textual account, thinking resembles walking; revealing emerging rhythmicities and I hope new vistas; shaped by a continuous oscillation between my art practice and theoretical reflection. In other words, it is what has been suggested as a reflection in-action and a reflection on-action [1]. Keeping the contemporary in my argument, the huge cultural significance of flaneur, psychogeography and related spatial practices has to be acknowledged. While walking always transgresses fields, disciplines and thinking, it is also known that throughout the last two centuries a significant array of intellectual voices considered walking as cultural and aesthetic act; a methodological apparatus with impact on arts, humanities, social sciences and science

Citation: Psarras, B. (2018). “From Stones to GPS: Critical reflections on aesthetic walking and the need to draw a line” InterArtive e-journal, Issue 100: Walking Art / Walking Aesthetics, ISSN 2013-679X, pp. 1-8

Part of a 2010/2012 project using text, photography, audio, walking (and latterly locative media) to explore Almscliffe Crag, North Yorkshire.

Developed for the Harrogate International Festival Fringe.

Audio and downloads available via the link (e.g. http://www.almias.org.uk ).

1960’lı yıllar estetikten çok kavramın ön plana çıktığı ve sanat medyalarında farklı üretim alanlarının ve türlerinin görüldüğü bir dönemdir. Çeşitli ifade biçimlerinin ortay çıktığı bu dönemde lif sanatı kavramı da sanat üretim pratikleri arasına girmiştir. İnsanlığın varlığıyla nerdeyse eşit bir zanaat üretim geçmişi olan tekstil tekniklerinden türeyen lif sanatı, sanat çevrelerini çeşitli sergilerle ve sergilenme biçimleriyle bu dönemde etkilemeye başlamıştır. Bu makalede öncü lif sanatçılarının galeri ve müze dışında iş merkezi, toplantı salonu, resmi bina veya istasyon gibi iç mekânlarda daimi veya geçici olarak sergilenmiş eserlerine ve günümüz örneklerine odaklanılmaktadır. Konu, lif sanatının diğer sanat alanları tarafından kabul görme süreci, sergilenme eğilimleri, sergi mekânı-sanat eseri arasındaki etkileşime ait bulgulara dikkat çekilerek değerlendirilmektedir.

The 1960s was a period in which the concept came to the forefront rather than aesthetics in art and different production areas and types were seen in their media. In this period, which created a variety of styles, the concept of fiber art became one of the art production practices. The fiber art, which derives from textile techniques, which has a craft production history almost equal to the existence of humanity, started to affect the art circles with various exhibitions and exhibition styles in this period. This article focuses on the works of pioneer fiber artists that were exhibited permanently or temporarily in business centers, meeting halls, official buildings or stations besides galleries and museums, and later examples of today. The subject is evaluated by drawing attention to the process of acceptance of fiber art by other art fields, exhibition trends, and the findings of the interaction between the exhibition space and the artwork.

A short essay on South African art collective Gugulective, commissioned for Entry Points: The Vera List Center Field Guide on Art and Social Justice No. 1, edited by Carin Kuoni and Chelsea Haines (2015), 228pp, 153 illus. ISBN: 978-0-8223-6200-5

From the publisher's profile on https://www.dukeupress.edu/entry-points:  "This book captures some of the most significant worldwide examples of art and social justice and introduces an interested audience of artists, policy makers, scholars, and writers to new ways of thinking about how justice is defined, advanced, and practiced through the arts. In so doing, it assembles some of the latest scholarship in this field while refining our vocabulary for speaking about social justice, social engagement, community enhancement, empowerment, and even art itself."

Contemporary public discussions on graffiti are characterized by the co-existence of contradictory claims. On the one hand graffiti is described as vandalism, and on the other as an artistic movement. Michel Foucault’s discourse theory, and the concepts of discursive formation and discursive practice, are operationalized in order to frame the object of study, and the contradictory claims regarding graffiti are studied as points of diffraction.

The aim of the study is to investigate the construction of graffiti as a phenomenon dependent on diametrically opposite but also interdependent claims, as well as how and in which contexts these statements are enounced. Graffiti is thus understood as a transnational phenomenon produced by subcultural as well as institutional agents, and the thesis analyzes visual and textual material produced within both subcultural and institutional situations. The study is conducted on material from three different cultural contexts: different descriptions on the development subcultural graffiti in New York City (circa 1972–1987); the framings of the graffiti on the Berlin Wall in English-language newspapers; and the adaptation of New York’s zero tolerance of graffiti in Stockholm, during the 1990s and early 2000s.

The institutions in the studied material represent a wide array of sectors such as the police, art institutions, and public-transit companies, and they interact with graffiti from their own interests and perspectives. The claims of cultural institutions often fall within what in this thesis is referred to as a consenting discursive practice, built upon the statement ‘graffiti is art’. It is also in relation to this discursive practice that most subcultural descriptions of graffiti are produced. The claims by institutions such as the police and public-transportation companies are almost exclusively found in the interdependent, rejecting discursive practice, built upon the statement ‘graffiti is a crime’.

Cantor Yossele Rosenblatt was offered an opportunity that would make any performer swoon: a star role in the ground-breaking film The Jazz Singer (1927). Yet Rosenblatt refused this artistic opportunity of a lifetime. This paper contextualizes Rosenblatt’s baffling decision, by exploring one possible relationship between the arts and law; in this case—the art of storytelling and the Jewish legal system. The study demonstrates where the two pursuits tread separate, unlinked paths to a common end. This vector is refracted through the lens of liturgical performances outside the religious synagogue service; specifically the propriety of cantorial concerts featuring prayers from the High Holy Days. This issue is addressed in legal writing and in storytelling, each modality using its own tools to tackle the trend. It is noted that legal systems without effective enforcement mechanisms—such as Jewish law in the late modern period—could use arts as compensatory media for achieving societal order. More significantly, however, arts and law are not umbilically connected; each cultural creation independently strives to fashion society.

Interview with art historian and sociologist Peter Bengtsen for Inchiesta about the exhibition “Street Art – Banksy & Co. L’arte allo stato urbano” in Bologna and the resultant removal by the Italian artist Blu of all his remaining artworks in the city.

"Project Unité" è una mostra tenutasi nell'estate del 1993 nel sud della Francia in uno degli edifici più rappresentativi dell'ultimo periodo di Le Corbusier, il complesso residenziale di Firminy-Vert. Si tratta del primo tentativo di riunire artisti di diverse generazioni, provenienze e formazione, uniti dall'inclinazione verso pratiche artistiche partecipative di interesse sociale.

Art deployed using the augmented reality medium is doing so from a micropolitics that distances itself from the uses of these same technologies elsewhere, such as in gaming, advertising, or entertainment paradigms. However, the current terms used to describe this type of artwork do not adequately engage the relational and material specificities of the AR medium as it collides with an emergent thread of interventionist, activist and/or narrative art practice. To describe this emergent hybrid situational artwork, this paper proposes the term software assemblage. The augmented reality artworks I will describe as software assemblages, mobilise experimental processes to examine the relational intensities emerging between the AR medium, the ubiquitous devices with which we have become intimate, and our human social assemblages, specifically in this early 21st century capitalist milieu.

Out of the Ruins is a practice-led PhD that interrogates the concept of inspirited landscapes in an Australian context. Inspirited refers to the spirit of a site that may be enlivened by invoking the memories and histories that lay embedded in its layers, allowing visitors to reconsider their own agency in relation to the active materiality of their surrounds.

Through a combination of creative arts practices, the PhD maps the creation of two site-specific projects to create what Jill Bennett would call ‘affective encounters’ to demonstrate how historical affect and cultural memory flow through bodies, singular subjects and the places that are made transactive by the newly activated relationships. The research project also addresses particular acts of attention that invite visitors to look outwards rather than inwards: from the body to the site and from the site to the culture, context and history. The research positions site-specific art practice as a form of material philosophy concerned with what could be perceived as a revitalisation of the social sacred. In particular, the ‘sanctification’ of social life that consists of a revaluing of the importance of ‘live and emplaced’ intra-action and a reading/perceiving/feeling the ‘affects’ of community as deeply integral to the human subject.

The larger question of the creative research is interrogating how I make a bridge as an artist to the culture – and as the person to the pre-individual field of affects that have been mapped on each site. How we can/can we begin to learn to ‘walk softly’ and listen to what we walk upon?

The creative practice has been developed through two creative works developed on two sites that share a reflective history and affective experience. The first work created and installed in 2014, was Anthology, a journey through Stirling Park in the ACT produced in collaboration with local artists to resurface the layers of history and story in the Westlake site. The major submission and contribution to new knowledge was TIDE, a site-specific work that addressed the way in which Australian cultural memory is circulated and repressed though affective understandings of location. The site for TIDE, (Royal Park, Melbourne) was mapped as an affective field in which its historical points of connection were activated and distilled through installation.

The conceptual and processual terrains of this creative practice will be explored and developed in detail in this exegesis, in relation to the key theorists and practitioners who address ways to position processes of research, practices and social engagement through material aspects of site and specific modes of post-traumatic engagement in art, theatre, performance and philosophy.

This project aims to produce new knowledge concerned with the ways in which historical narratives, individual or psychological affects in a particular place cannot be separated from a pre-individual field of affects. If the affective field is viewed as a net of connections, when we create trauma in one section of the net it will impact upon the whole. The PhD deploys modes of creative engagement designed to draw attention to the way affects imprint upon the social/cultural space in a given site. The project builds upon my previous research on trauma’s mark on the body, and contributions to an understanding of how trauma also marks the land. In this way, my creative practice attempts to demonstrate how two specific parklands (where a community continues to fight to protect an apparent terra nullius from development) reflect Australian cultural memory, a shared and remembered history, but are deeply revealing of the lived reality of what we think we know, and our amnesia: what is forgotten, ignored or silenced.

My central claim is that the Australian landscape is inspirited with all that has been, and replete with beings and becomings. In this project, I demonstrate how site-specific creative practice can open our awareness and provide modes of engagement and potentially, modes of access, to the irrepressible land and the materiality of history. The aim is to retune our perception of the agency and liveliness of all matter. Creative action in situ can begin to foster deeper connections between the sacred and the social as we share knowledges about each other and place, and in doing so, reawaken the sacred in relation to the deep ecological mesh, the human-non-human community to which we all belong.

Examining the skyspace by James Turrell, 'Seldom Seen' (2004) in Houghton Hall, Norfolk through the lense of Turrell's commissions and the international distribution of the skyspaces. How is it that he can reproduce the same thing but retain the individuality required to maintain its commercial appeal as an original? He remodels each skyspace to its location to become site-specific and thereby tailored to each commission. 'Seldom Seen' is bound with the history Charles Bridgeman's unrealised plans for Houghton Hall's gardens.

Τόμος: 10 χρόνια Performance Now
Επιμ. Αυγητίδου Αγγελική
ISBN 978-618-83267-9-8

Η ανθρώπινη εμπειρία είναι βαθιά χωρική, μια ταλάντωση μεταξύ σώματος, μέρους, ροών και ρυθμών. Τα σώματα αισθάνονται, νιώθουν και κινούνται στο τοπικό, όμως η φαντασία και το αποτύπωμά μας επεκτείνονται στο παγκόσμιο. Από την δεκαετία του 1960, οι ιστορίες και οι πρακτικές του Fluxus, της Land Art και του Μινιμαλισμού ανέδειξαν ποικίλους συνδέσμους μεταξύ σωματικής χειρονομίας, μέρους και διαφόρων τεχνολογικών μέσων. Ένα διακαλλιτεχνικό σώμα έργων που συμπεριλαμβάνει τα έργα γεωτέχνης των Robert Smithson και Michael Heizer, τους εννοιολογικούς και ποιητικούς περιπάτους των Richard Long και Francis Alÿs, τις γλυπτικές performances των Franz Walther, Carl Andre και Denis Oppenheim, τα Fluxus scores ή τις τεχνολογικά διευρυμένες performances με μέσα επικοινωνίας δι’ εντοπισμού (locative media) στις αρχές του 21ου αιώνα κάνει ορατή την έννοια των διευρυμένων επιτελεστικών καταστάσεων στο μέρος με εικαστικό μεθοδολογικό δυνητικό. Το παρόν κείμενο εστιάζει στις συνδέσεις του ποιητικού και του τεχνολογικού, φέρνοντας σε κοινό κάδρο την έννοια των επιτελεστικών συμβάντων στον δημόσιο χώρο. Συγκεκριμένα, το κείμενο αποτελεί έναν εικαστικό/μεθοδολογικό στοχασμό προσπαθώντας να διαφωτίσει διεπιστημονικές και διακαλλιτεχνικές συνδέσεις μεταξύ των γλωσσολογικών προθέσεων «μέσα σε» (into), «μαζί με» (with) «διαμέσου» (through) και περιπατητικών performances, διευρυμένων εγκαταστάσεων και ψηφιακών τεχνολογιών. Στο παρόν άρθρο στοχάζομαι πάνω σε επιτελεστικούς αστερισμούς κινήσεων, λέξεων, αντικειμένων, τεχνολογιών και χώρων. Ως εκ τούτου, αναδεικνύονται οι τρόποι όπου η ενσωμάτωση ενός αντικειμένου (οργανικού, τεχνολογικού) ως συν-διαμορφωτή της performance λειτουργεί ως αισθητηριακή, συμβολική, συμμετοχική ή τοποθετημένη/γλυπτική επέκταση για τον καλλιτέχνη, αναδεικνύοντας τόσο αυτοεθνογραφικές θεωρήσεις μεταξύ χώρου, σώματος και οπτικοακουστικών μέσων, όσο και γεφυρώνοντας την περιπατητική performance, την τοποειδική τέχνη και την ποίηση μέσα από μια γεω-ανθρωπιστική προσέγγιση.