Site-Specific Art

The Canadian Clay and Glass Gallery occupies a unique and evolving position in the Canadian museum landscape, dedicated to showcasing contemporary silica-based art in its diverse forms, including ceramics, glass, and enamel. Since its inception in 1993, the Gallery has expanded its focus beyond functional or traditional sculptural artworks to embrace installation, kinetic, video, performance, ephemeral, and environmental works, reflecting a broad and innovative interpretation of silica practice.

By prioritizing artist-driven curatorial approaches over strict medium specificity, the Gallery challenges traditional distinctions between fine art and fine craft. This inclusive paradigm enables vibrant, experimental programming that fosters fresh visions of silica art while supporting both established artists, such as Judy Chicago, Tim Whiten, Neil Tetkowski, and Shary Boyle, and emerging talents like Susan Collett, Amanda Dumas-Hernandez, and Linda Sormin. Exhibitions often merge diverse artistic disciplines, promoting dialogue about the relevance of historical traditions in contemporary art practices.

The Gallery’s iconic Patkau Architects-designed building, a recipient of national architectural awards, is a frequent source of inspiration for site-specific works. Highlights include Julie Oakes’ "Swounds", a poignant exploration of fragility and life’s irreplaceability through suspended glass sparrows and large-scale installations, and eco-installations like "Tessellated Anamnesis" and "Chaconne de Phaeton", which integrated moss, clay, and projected imagery to create immersive environments.

Through its exhibitions, the Canadian Clay and Glass Gallery fosters meaningful engagement with silica art, offering audiences conceptually compelling and materially seductive works that inspire curiosity, introspection, and a deeper appreciation of this evolving medium.

In this chapter the author, the artistic director of Different Light Theatre located in Christchurch, New Zealand, explores the political potential and significance of learning disabled theatre. To do so, the author elucidates how various meanings of 'political' inform the emergence, the creation and work practices, and the representational politics of the theatre. He draws on 20 years of experience creating theatre, and of working and being together with the learning disabled artists of Different Light Theatre. The company's work has emerged in the context of the specific political context of learning disability in Aotearoa/New Zealand, expressed on the educational, juridical and social level. The company was formed in 2004 as A Different Light: to align with the notion of perceiving learning disabled people 'in a different light'. In the chapter, the concept of a 'political spectrum' is used as a multi-faceted framework to explore the complexity of political representation for learning disabled people, who often have limited or marginalised access to personhood. Building on a rich variety of practices, which are scrutinised in the chapter, the author presents the idea that 'a spectrum' suggests gradation but also connection, and even inclusion. We are all somewhere on a spectrum.

The "Meeting in the Cave" awareness play. A time-space-specific operatic installation performance in both worlds and two continents.
The "Cave 3.0" libretto. Act I.3, Polarisation. El Duende & la Quintina; Isis & Lucius. Subnarrative: Polarisation.

é um artista catalão residente em Nova York desde 1971. Participou de diversos eventos internacionais, inclusive do Projeto Arte/Cidade Zona Leste, em São Paulo (1997) e da 51? Bienal de Veneza (2005). Estudou na Escola Técnica Superior de Engenheiros Industriais de Barcelona e no Pratt Graphic Center de Nova York. Participou e dirigiu seminários em diversas instituições de prestígio da França, Itália, Estados Unidos e América Latina. Foi artista residente em vários centros de pesquisa e de educação no Canadá, Espanha, França e Austrália. Recebeu vários prêmios e bolsas, entre as quais a da Fundação Guggenheim. Atualmente é professor convidado do Programa de Artes Visuais da Escola de Arquitetura do MIT em Cambridge, Massachusets (EUA), e do

After graduating with two medical degrees from Columbia University, Beverly Buchanan started her public health career in the early 1970s, working in the Bronx and New Jersey while simultaneously advancing her artistic practice by pursuing professional training. Series such as “Black Walls” demonstrate how she incorporated the increasingly ruinous state of her urban surroundings – caused by the racist housing and urban development politics of the time – into her work. When Buchanan moved back to the rural South of the US, her interest in architectural fragmentation remained. In her review of the recent show “I Broke the House,” Aïcha Revellat highlights this aspect of Buchanan’s practice, particularly concentrating on the artist’s engagement with fractures in both bodies and buildings.

Performance and performativity in art - performative installation

Main object of study: installation art.
The subject of the research is the notion of performative installation.

PhD Thesis / PhD student: Yanitsa Fendulova
Total volume of dissertation (number of pages): 252
Defense date: 11.04.2023
Language: Bulgarian
Supervisor: Assoc. Prof. Marina Teofilova Teofilova, PhD
Reviewers:
Prof. Dr. Habill. Antoaneta Angelova Ancheva,
Prof. Dr. Habill. Peter Kanchev Tzanev
Head of jury:
Prof. Dr. Habill. Antoaneta Angelova Ancheva
Jury:
Prof. Dr. Habill. Peter Kanchev Tzanev,
Assoc. Prof. Dr. Habill. Atanas Dimitrov Totlyakov,
Prof. Lyubomir Ivanov Karadzhov, PhD,
Prof. Emilia Borisova Konstantinova, PhD

'Alices Seek Wonders' ['Alicias buscan Maravillas'] (2017, 2021) is a documentary play by Lucía Miranda based on the testimonies of people with and without disabilities. Finding inspiration in Lewis Carroll’s characters, motives, and linguistic play, the playwright and theatre director proposes a site-specific, inclusive, and accessible staging for audiences of all ages. During the performance at park Quinta de Los Molinos in Madrid, the spectators participated in an immersive adventure, interacting, walking along, and even singing and dancing with the performers, made up of actors with and without disabilities, including a group of teenagers from community-based theatre project ‘Mundo Quinta’. Instead of proposing a comical representation of disability, the play uses humour to
bridge the gap between diverse communities and encourages the audience to reflect on what normality is.
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'Alicias buscan maravillas' es 2017, 2021) es una obra documental de Lucía Miranda basada en los testimonios de personas con y sin discapacidad. Inspirándose en personajes, motivos y el juego con la lengua del clásico de Lewis Carroll, la dramaturga y directora teatral propone una puesta en escena site-specific, inclusiva y accesible para públicos de todas las edades. Durante la representación en el parque Quinta de los Molinos de Madrid, los espectadores participaron en una aventura inmersiva, interactuando, caminando e incluso cantando y bailando con los intérpretes, formados por actores con y sin discapacidad, entre ellos un grupo de adolescentes del proyecto de teatro documental para adolescentes Mundo Quinta. En lugar de proponer una representación cómica de la discapacidad, la obra utiliza el humor para para tender puentes entre comunidades diversas y animar al público a reflexionar sobre lo que es la normalidad.

Socialmedicinsk tidskrif t 2/2019 183 Sedan Morag Myerscough studerade på Royal College i London under 1990-talet har det varit viktigt för henne att inte identifieras med en specifik konstnärlig inriktning. Under utbildningstiden blev hon influerad av sextiotalets design, Bauhausrörelsen och The Memphis Group. Utbildningen i sig upplevde hon som alltför lite utmanande och hon experimenterade därför med egna uttryck, inspirerad av olika discipliner. När hon lämnade universitet fick hon höra att hon varit otydlig med sitt val av yrkesroll. Vid den tiden fanns starka förväntningar på att en student skulle välja ett yrkesområde och ägna sig åt det. (Idag är det alltmer självklart med gränsöverskridande möten mellan konst, design eller arkitektur.) Även om Myerscough under en period försökte specialisera sig inom grafisk design lockades hon aldrig riktigt av att röra sig i en särskild riktning, eller av att specialisera sig på ett enda konstnärligt fält. Kritiken hade dock väckt hennes ...

I paesaggi sepolcrali si configurano come sistemi dinamici, sottoposti a continui mutamenti spaziali. Mentre i cimiteri attualmente definiti storico-monumentali diventano oggetto di patrimonializzazione, le alterazioni dovute a deterioramento, dissesto strutturale o disuso ne compromettano l’integrità identitaria: a ciò va associato l’evidente e perdurante rifiuto della dimensione mortale che contraddistingue la società contemporanea. Già nel 1951, Edgar Morin sottolinea che «il mondo dei morti, come un continente alla deriva, si allontanerà sempre di più dal mondo dei vivi»: l’altra città appare, progressivamente, relegata ai margini della sfera esperienziale quotidiana. Il contributo, oltre a riflettere sulle considerazioni già postulate, implica altrettante domande aperte e mira a indagare l’impatto esercitato dagli ampliamenti contemporanei dei cimiteri ottocenteschi nella ridefinizione tangibile del concetto di trapasso. Le nuove progettualità architettoniche creano una frattura con il mondo della morte, ribadendo l’idea di assenza e conferendo alla dimensione paesaggistica un’aura di inquietante extraterritorialità, oppure favoriscono modalità di fruizione più riflessive e partecipate? La disamina si estende anche alle potenzialità offerte dalle pratiche artistiche contemporanee che si innestano nei cosiddetti “campisanti d’autore”, capaci di veicolare nuove chiavi di lettura che permettono di superare una percezione meramente funzionale delle nuove aree sepolcrali.

Antoni Muntadas, artista, crítico de la cultura, de los medios, de la sociedad y del arte, hizo base en Buenos Aires con su proyectoMedia Sites / Media Monuments, un dispositivo de montaje fotográfico que pone en foco espacios de memoria con la intención de activar nuevas lecturas entre pasado y presente. Un viaje hacia las profundidades de lo real.

This dissertation constructs a counter-institutional history of contemporary art and visual culture advancing Hawaiian sovereignty from the 1960s into the speculative future. In the decades following Hawai‘i's US statehood admission in 1959, alongside growing discontent with intensifying capital investment in tourism and further fortification of military infrastructure, there began a resurgent—and still ongoing—Hawaiian cultural renaissance. Scholars and artists alike, though, have long bemoaned the seemingly minimal role of the visual arts in this wake, highlighting the general reluctance of Euro-American-centric fine art institutions in Hawai‘i to neither include Kanaka Maoli artists in exhibitions nor support and uplift Native Hawaiian concerns. While critical art historical scholarship has long addressed this ostracism, I take a different approach toward historicizing contemporary art in Hawai‘i, seeking to challenge the very inclination for institutional inclusion. Instead, this dissertation contends that work produced in an explicitly counter-institutional spirit with antagonistic anti-colonial politics had an immediate impact on cultivating support for Hawai‘i's self-determination precisely because of its exclusion from Hawai‘i's hegemonic art institutions. Put differently, early work emerging from non-art contexts importantly did not acquiesce to Euro-American tastes nor seek institutional affirmation, opting to develop and evolve alongside various social concerns and land struggles in Hawai‘i. As I argue, these practices have remained vital foundational touchstones and references for artists working today, forming the foundation of a revolutionary visual culture of national liberation in Hawai‘i that continues to complement, give voice to, and shape the Hawaiian sovereignty movement.

Spanning political print publications, social photography, documentary filmmaking, site-specific sculpture, installations, video work, and digital cartography, among other media, I trace an expansive and ongoing artistic movement in Hawai‘i concerned not with institutional acceptance but, rather, linked through the Indigenous ethical value and radical environmentalism of aloha ‘āina, or "love of the land." Building upon its existing multiplicity of meanings, I theorize aloha ‘āina as both an artistic medium and method of national liberation in the anti-colonial Marxist tradition, converging as an expression of national culture in Hawai‘i. The dissertation's four chapters roughly follow a chronological order and demarcate shifts in artistic production over time. Chapter one examines the early documentarian practices of Kokua Hawaii, Ed Greevy, and Nā Maka o ka ‘Āina from the 1960s through 1993. Chapter two compares site-specific works commissioned by Hawai‘i's arts institutions in the 1970s to ongoing place-based community endeavors begun by Piliāmoʻo and Bernice Akamine in the 1980s and 1990s, respectively. Chapter three assesses work by Drew Kahu‘āina Broderick, Tropic Zine, Jane Chang Mi, Tiare Ribeaux, and others that challenges the interdependent apparatuses of the tourist industry and military occupation in contemporary Hawai‘i. Chapter four analyzes Sean Connelly's online, sculptural, and socially engaged efforts to recover traditional land management practices, imagining decolonial Hawai‘i futures. This genealogy, in which questions over land have remained the primary motivating factor, proposes an environmental art history of post-statehood Hawai‘i that seeks to become the art history of an independent Hawaiian nation.

Inscribed across the top of a shin-high slab of stone in a shady corner of Seattle's Volunteer Park are the words: "Set against a series of existing monuments built to honor war, purchase, transport, and forms of expansion we might otherwise call control, finally an opportunity not for waiting, but for repose." Chloë Bass's Soft Services, a project commissioned by the Henry Art Gallery and organized by Shamim M. Momim for the new Henry OffSite program, consists of fourteen stone "benches" installed throughout the 48.3 acre, Olmstead-designed park and two more located outside the museum's entrance. The stones are engraved with texts by the artist and accompanied by silhouettes of plant species rendered in reflective pigment, similar to that used on roadways and municipal signage, which shift from matte grey to brilliant silver depending on the quality of daylight and the angle of viewing. Hovering somewhere between monuments, memorials, and a mode of outdoor furniture, Bass's installation asks the park visitor to reflect on the layered history of the site, their positionality in relation to the bodies of others' caught up in ongoing historical traumas, and the human desire to mark moments of loss, mourning, and recovery.

Intervenções, instalações e ocupações, na virada dos anos 2000 no Brasil, apontamas possibilidades de interligação da galeria aos espaços sociais. Essas estratégiasocupam e ultrapassam as bordas moventes do campo da arte, cuja instabilidade setorna visível e manipulável. Defendem, assim, posições críticas e a manutenção deespaços de liberdade

This paper delves into the transformative potential of sound and sonic practices as tools for attuning to and comprehending the agency and murmurings of various material, viral, vegetal, animal, and atmospheric entities. Departing from Isabelle Stengers' cosmopolitical proposal, this essay advocates for a re-evaluation of power dynamics in political arenas by engaging with the diverse murmurings of what Stengers defines as the "cosmos" — the unknown constituted by multiple, divergent worlds.
The paper is grounded on the analysis of artistic contributions to the event Murmuring Matter: On the Cosmopolitics of Materials, held at the Jan van Eyck Academie in 2023. The event proposed a collective exploration of the materials, bodies, river, forest, and cityscapes of Maastricht and beyond, through sound experiments, listening exercises, and sonic immersions. The paper explores the potential of such sonic practices as effective responses to Stengers' proposal by attuning to and illuminating positions that often go unnoticed, thus prompting a reconsideration of humanity's connections with the environment. Illustrated with concrete examples, this paper demonstrates how sonic practices within the event fostered conditions for pre-cognitive attunement to the environment and unveiled new relationalities between humans and ecosystems at various scales.

Spectral Diffusion techniques in the context of electroacoustic composition and computer-aided composition explained in this text, can bring a new dimension to the spatial compositional techniques available for immersive musical contexts and spaces surrounded by speakers.
The author proposes a systematisation of Spectral Diffusion methodologies organised into three different levels of complexity, which represent the depth of these techniques and the new compositional concepts and vocabulary emerging from them. This organized system not only enhances our understanding of Spectral Diffusion but also opens new avenues for musical expression in the field of electroacoustic and computer-aided composition.

Las industrias se comprenden desde dos aristas que son fundamentales, una de ellas es la arquitectónica, que permite la ejecución de las faenas, la disposición de la maquinaria y la generación de mecanismos de trabajo específi cos. A su vez, esto se cruza con la dimensión que alberga las acciones relacionadas con la vida que habita en su interior, y que recae en diversos procesos que los trabajadores y trabajadoras realizan de manera colectiva.

This paper addresses an online news article that contains the headline ‘Has site-specific theatre had its day?’ in relation to distinct, geographical areas within mainland United Kingdom, whilst conducting a ‘health-check’ of site-specific performance within these regions. The study also considers the use and application of terminology pertaining to site-specificity. Case studies are incorporated into the writing, together with primary and secondary sources. The findings are that the question posed by the journalist has some validity and resonance in certain parts of the country, namely Wales and Scotland, countries which have absorbed elements of site-specificity into their national theatre models. There are different inflections of the argument in terms of London and the south-west of England. The challenges of claiming absolute definitions of ‘site-specific theatre’ are additionally outlined.

By "nothing" she referees to the term "Shunyata" used by the Buddhist´s which means something like filled emptiness. I´ll talk about experiences of the work from my own point of view, since I visited it in July 2014, some critic´s and other visitors thoughts and Abramović´s own intentions and experiences of it. I will also compare the role of the audience in this work with earlier works of Abramović and suggest an interpretation based on stigmata.

Bu çalışmayı düşünmeye, pandemi sürecinde ilk yetişkinliğimi geçirdiğim odaya geri döndükten sonra başladım. Odanın yarısını kaplayan iki köşeli, uzun dolabın o koca kütlesini üzerimde hissediyordum adeta. Tam da o sıralarda farkında olmadan bu dolabı andıran paravan biçiminde tasarlanmış, ahşap, kütlesi büyük olan bir nesne resmetmeye başladım. İki boyutlu bir yüzeyde de olsa gerçeğiyle benzer bir şekilde bedensel bir his de yaşatıyordu. Tam bu noktada resmin fizikselliği üzerine düşünmeye başladım. Daha önce resim yerleştirmesi yapmış olsam da bu yaşadığım daha farklı bir idraktı. Resmin üç farklı türünü kendimce keşfetmiştim; ilki yanılsama ile mevcut çerçeve ölçüsünde mekandan ayrılarak izleyiciyi tuvalden içeri doğru çeken bir türken, ikincisi herhangi bir uzam yaratmadan yalnızca yüzeyde olup biten ve tuvalin geometrik şeklini ve onun yalnızca bir yüzey olduğunu vurgulayan, dolayısıyla resmin gerçek mekanda bulunan bir nesne olduğunu söyleyen resimler idi. Üçüncüsü ise ilkinin tersi bir yanılsamayla dışarı doğru, izleyicinin bedensel bir hisle de algıladığı resimlerdi.
Resmin mekana taşması, izleyici ve etrafıyla fiziksel ve görsel ilişki kurması üzerine çalışmaya başlayınca üç boyutluluk ve bunun getirdiği fiziksel ilişkiyi sanatın her an hayatımızda olduğu/olabileceği bağlamında önemsediğimi anladım: Bir binanın içinde yaşarken, hayatımızı kolaylaştıran bir nesneyi kullanırken ya da sosyal yaşamımızın mekan ve nesnelerle ilişkisini kurgularken…

Attuned to sonic, aesthetic, and sensory modes of experience, and directed particularly to explore the implications of sound as it informs political thought and actions, in 2021, I began investigating Jerusalem’s soundscape. Following Jean-Luc Nancy’s argument that our perception is impacted by the subjectivity of listening, I invited a group of Palestinian and Israeli artists to work with me on this project, hoping to capture the multiple soundscapes this city offers to its residents, visitors, and passers-by. In this essay, I examine two of the group's projects: “Listening Walks in Jerusalem,” an online sonic archive open for anyone to listen to and download; and “Scores for Social Acoustics in Jerusalem,” an anthology of suggested listening paths in the city. I suggest that these artistic acts succeeded in capturing a range of sonic experiences of Jerusalem and may even have gone beyond Nancy’s words to provide tangible methods for listening to a sound event and hearing it (almost) the same.

This issue is dedicated to the sci-fi imagery in Visual Arts during the period of the so-called “Space Race”. Since the first launch of the Sputnik 1 (1957) until the first “Onward to the Moon” by Neil Armstrong and Buzz Aldrin (1969), Visual Arts seemed to be inspired by that decade of hectic technological competition between US and USSR. If many Western artists were fascinated by this space adventure, in Italy this topic was early evoked by the manifest of Spatialism and by the works of Arte Nucleare, reaching the peak with the playful and immersive Fabio Mauri's lunar environment for the show Il teatro delle mostre, in 1968.

https://teseo.unitn.it/palinsesti/issue/view/92

Este artigo apresenta a estratégia utilizada para criar a instalação sonora Saving Shapes (2016-2018). Além disso, apresentaremos algumas observações sobre a composição musical para instalações sonoras em locais ao ar livre em exposição por períodos prolongados, especialmente estratégias para evitar repetições. A nossa abordagem é baseada em três fases: (1) recolher uma ampla gama de "informações" fenomenológicas do local, realizando caminhadas sonoras, fazendo anotações e gravando sons; (2) analisar essas "informações" e compor música para ser instalada e executada naquele local específico; (3) recriar periodicamente a composição/instalação usando novas "informações" obtidas repetindo o passo número 1. Por fim, discutiremos os efeitos de revisitar o mesmo lugar para experimentar as suas particularidades e significados como uma estratégia composicional, em oposição ao uso de um computador para recuperar dados em tempo real durante o período da instalação.

Η παρούσα εργασία περιγράφει και αναλύει θεωρητικά, φιλοσοφικά, και καλλιτεχνικά ζητήματα γύρω από την διαδικασία δημιουργίας έργων της σύγχρονης περφόρμανς, έχοντας ως κύρια περίπτωση μελέτης το χορογραφικό video-performance The sky has not fallen, yet. Η σύγχρονη περφόρμανς ευθυγραμμίζεται με την εννοιολογική τέχνη, λόγω της συχνά άυλης φύσης της ενώ αποτελεί έναν τρόπο άμεσης ενασχόλησης με την κοινωνική πραγματικότητα, τις λειτουργίες της έννοιας του χώρου και την πολιτική του σώματος και των ταυτοτήτων. Η «χρήση του εδώ και τώρα», η σωματική κίνηση και η παροδικότητα προσφέρουν εναλλακτικές λύσεις στη στατική μονιμότητα της ζωγραφικής και της γλυπτικής.Το παρόν έργο αφορά το θέμα της συνύπαρξης και της αλληλεπίδρασης μεταξύ φυσικού και τεχνητού, υλικού και άυλου. Αποτελεί μέρος του καλλιτεχνικού ερευνητικού project Bodies of Chthulucene. Τα διαφορετικά στάδια του καλλιτεχνικού αυτού ερευνητικού έργου επικεντρώνονται στους χώρους όπου ανθρώπινα και μη ανθρώπινα σώματα μπορούν να δημιουργήσουν μαζί κατασκευάζοντας εφήμερες ετεροτοπίες. Η σχετική θεωρητική έρευνα αφορά τις σύγχρονες κοινωνικές και υλικές προκλήσεις και την σχέση αντιπαράθεσης με τα καθιερωμένα κοινωνικά δίπολα. Κεντρικό άξονα της παρούσας έρευνας αποτελούν τα θεωρητικά κείμενα της Donna Haraway που αφορούν την συνύπαρξη πολλών ειδών, όπως η αφήγηση της «Χθουλόκαινου» (Chthulucene), μίας έννοιας που στοχεύει στην δημιουργία νέων αφηγήσεων που προωθούν την ισότιμη αλληλεπίδραση και συνεργασία των ειδών. Στην εργασία αυτή αναλύονται ορισμένες από τις θεωρητικές και φιλοσοφικές προσεγγίσεις που χρησιμοποιούνται στην σύγχρονη περφόρμανς με οικολογική και φεμινιστική στόχευση –οι οποίες συντέλεσαν και στην δημιουργία του εν λόγω έργου. Επίσης, συζητούνται οι καλλιτεχνικές αναφορές και η διαδικασία σύνθεσης και τελικής επεξεργασίας, ενώ τέλος, αναφέρονται τα συμπεράσματα και ο αναστοχασμός πάνω στην δημιουργική διαδικασία καθώς και τα επόμενα στάδια της καλλιτεχνικής έρευνας. Λέξεις Κλειδιά: θεωρία της σύγχρονης performance, video-performance, καλλιτεχνικές πρακτικές, συνδημιουργικό τοπίο, chthulucene, συνύπαρξη, κινητικός αυτοσχεδιασμός
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This book calls for paradigm shift into the investigation of contemporary buildings and landscapes in ruin, many of which are locations for paranormal investigations, a public 'ghost hunt', and/or 'dark tourism'.  In this 'ontological turn', a change in investigative practices from 'paranormality' towards 'ontological continuity'.

July 2024 "Can remnants of past societies-ruins…artifacts-'speak' in active ways for the histories they represent? And can we include the dead, or apparitions of the dead, in this agency?" (Thrush 2011: 54) As an archaeologist, I had always focused on dead sites and landscapes. My training, both in the classroom and in the field, had always centered on specific material memory and how to map its context and associations. Yet, I had frequently felt a dis-enchantment to what should have been the opening toward the real sense of a past in the present, not just (and simply) fragmented and trace material presence. I am not the first archaeologist to experience this uncertainty about fieldwork: "What we perform as archaeologists…is an operation that has not been properly appraised in all its consequences" (Gonzalez-Ruibal 2014). After years of doing archaeological fieldwork, I had come to realize that the archaeological record is not a recording of what life was in the past. But it may not be simply a still photograph of material presence that represents the site as it was abandoned.

Thank you for taking part. You are now invited to choose from the selection of short movement ‘performances’. Each short performance offers you and those present the opportunity to reflect on how people move. You can choose to perform ‘solo’ or with a friend(s) or ask Dorothy, the facilitator, to perform for you. Each performance is designed to last about 2 minutes. They all start by entering into a lit space. The sound will accompany you so you don’t have to worry about timings.

Excerpt:
Afriqueer begins in darkness. The sun set several hours ago and we shuffle forward, hunching our shoulders against the winter chill, hurrying to follow the bobbing glass lanterns held by those who took our tickets at the gate. An audience of around ten at South Africa's 2016 National Arts Festival, we venture inwards, the paths of the botanical gardens seeming rough and unfamiliar terrain. Suddenly, a wolfishly charming sinewy man clad in aviator shades and a faux fur coat slips out of the shadows. In poetic, flirtatious and threatening tones he entreats us to follow him into a 'place of placelessness', where we will bear witness to a parable of how the stars were made through the burning love of two boys for one another. As we journey on, we come across performers tucked in hidden places, encountering both private celebrations and profound sorrows. Here, in an alcove under a tree: a blankfaced civil servant trading masculine work clothes for a filmy gown, relieved smile illuminated by lantern-light as he softly strokes its fabric. There, skating the horizon: a stately figure in a striped rainbow leotard and tutu under an umbrella decorated with fairy lights, entering and exiting the periphery of our awareness (See Figure 4.9). Following our guide's voice and escorted by five male dancers clad in traditional Botswanan skins and blankets, the experience of Afriqueer is otherworldly and at times profoundly disorienting. But our trickster guide had warned us at the gate: such magic is not gentle.

While spatial audio technologies have developed dramatically in the last twenty years, the compositional approaches to spatialisation in electroacoustic music are still fragmented. No coherent and shared language for spatialisation exists yet, and it is often challenging to reproduce an electroacoustic piece in different space from the one it was conceived in. In this paper we delve deeper into an approach about spatial audio and spatialisation techniques in the electroacoustic arts that we called 'speaker agnosticism'. By introducing Lilla Salen, a multichannel system of up to 49 speakers in a dome like configuration, and the authors' compositions, we describe a method of treating the concert hall as an instrument irrespective of the number of speakers it contains, or their arrangement. This paradigm shift encourages an 'organic' approach to music spatialisation, steering away from the traditional 'Euclidean' mindset. Finally, this project hints at the possibility of 'touring' pieces: by treating multichannel systems rather as instruments. Thanks to current audio technologies it is possible to 'transcribe' works between concert halls without losing the musical intention.

, a year before Sigmund Freud's death, in exile from the Nazis, away from the apartments in Berggasse 19, Vienna, a building in which he lived and worked for almost 50 years, Freud turned his thoughts to space and the psyche. In the safety of a temporary London abode, and a mere month away from moving into the Freud family's new permanent home at 20 Maresfield Gardens, London, a space that would form a meticulous, near duplicate of his consulting room and study in Vienna, Freud made a short, cryptic observation. Freud noted that 'space may be the projection of the extension of the psychical apparatus. No other derivation is probable. […] Psyche is extended; knows nothing about it'. 1 For Freud, the human subject's psychical apparatus the conscious and unconsciousis projected onto space. One could say that space is thus formed out of our memories and desires, dreams and traumas, the ghosts of our past, the 'ordinary unhappiness' of everyday life, as well as our aspirations for the future. Perhaps it was necessary for Freud to be out of place in order to recognize the way in which we are so bound by placethe spaces we inhabit. For Freud, what had become noteworthy was the fact that space is constituted by our psychic life; and in turn, space constitutes us. Leaving but a fragment of a thought, Freud's pithy statement makes us wonder: How might this projection of the psychical apparatus become manifest? Be reflected? Be iterated? Be visualized? What is the structure of such a spacefiguratively, topographically, and architecturally? Does it have a geometry? How does it feel to be embodied within this space of our psychic life? Can we enter someone else's space? What might we hear? What is the sound of memory? Freud's House: The Double || Freud's House: The Double Mirror Recently the artists Chara Lewis, Kristin Mojsiewicz, and Anneké Pettican working collectively as Brass Art have embarked upon a project called Shadow Worlds | Writers Rooms. 2 This tripartite work follows the artists as they enter into the worlds housed at the Brontë Parsonage and Wycoller Hall, the Freud Museum London at 20 Maresfield Gardens and, hopefully in the future, Virginia Woolf's Monk's House. By visiting and reflecting upon these individual spaces of intellectual and creative practice as well as domestic life, Brass Art engages with each of the sites in a series of performative, digital, analogue and aural practices. By employing a Kinect scanner, and working in collaboration with programmer Spencer Roberts, Brass Art's performances, movements and, intriguingly, their unseen shadows are captured on video. The bodies of the artists, the architectural setting and the objects within it become shimmering pixels that animate and haunt the resultant video. The artists consider the time spent in these spaces as 'sojourns' through which: A domestic space [is] brought to life by its new, temporary occupants. A scanner-eye sees through walls and doors; the certainty of interior and exterior dissolves, leaving nothing less than the dissolution of the architecture of the house. A sound echoes upstairs and through closed doors […] 3

The aim of this study is to investigate the origin of the concept of site-specifity, which has become
one of the determining elements of sculpture since the second half of the 20th century
and is considered as a fundamental issue in the context of Richard Serra’s sculptures. In the
research, it is revealed that there is a relationship between some constructivist sculptures
that follow the path opened by Picasso’s Guitar sculpture and the historical development
of site-specific art. In this context, it has been tried to express that Constructivist sculpture,
which is often associated with the Guitar sculpture, especially Vladimir Tatlin’s Corner
Counter-Reliefs, played an important role in the emergence of site-specific art, unlike the
widespread view in art history and criticism that site-specific art began with the minimalism
movement. The issue of site-specificity, which gains weight in Richard Serra’s art, where
we clearly observe the influence of Constructivism, is discussed in the context of Jacques
Derrida’s concepts of deconstruction, ergon and parergon. In general, this study sheds light
on the historical development of site-specific art and the importance of this development
in Serra’s sculptures. In order to achieve this, a new perspective on site-specific sculpture is
presented by grounding the origin of the concept of site-specificity in the art of sculpture
within the framework of the corner space.

Practices of art (and architecture) have recently turned toward theories of relationality, embodiment, and affect. This has been accompanied by a shift towards both discourses and design practices that emphasise doing things with space and engaging with what spaces do. Hence, the aesthetics of the city and its spaces can be seen to engage socially with the agency of its audience in a reflexive choreography. Using a contemporary work of live art theatre as a case study, this paper focuses on what we might learn from urban audiences who do things in space, and the agency that arises from live art in urban environments. 'en route' is an audience work conceived by Melbourne-based ensemble 'one step at a time like this' - a walk with an iPod through laneways and buildings in the central city. Using interview material from audiences who have performed en route in Melbourne, Brisbane, and Adelaide, this paper describes and analyses the effects of a site-responsive performan...

Practices of art (and architecture) have recently turned toward theories of relationality, embodiment, and affect. This has been accompanied by a shift towards both discourses and design practices that emphasise doing things with space and engaging with what spaces do. Hence, the aesthetics of the city and its spaces can be seen to engage socially with the agency of its audience in a reflexive choreography. Using a contemporary work of live art theatre as a case study, this paper focuses on what we might learn from urban audiences who do things in space, and the agency that arises from live art in urban environments. 'en route' is an audience work conceived by Melbourne-based ensemble 'one step at a time like this'-a walk with an iPod through laneways and buildings in the central city. Using interview material from audiences who have performed en route in Melbourne, Brisbane, and Adelaide, this paper describes and analyses the effects of a site-responsive performance without actors, set, or lights that awakens its urban audiences from their blasé state of distraction. en route is explicitly architectural and social: it is about bodies inhabiting space, the direct and affective experience that connects subjectivity and space, and about place and identity as mutually constituting each other relationally. 1 'en route'

Ao tomar como contexto teórico as pesquisas em Harmonias Espaciais desenvolvidas pelo teórico de movimento Rudolf Laban na primeira metade do século XX, este artigo considera o longo predomínio da visão de um alguém que habitava um espaço vazio separado do corpo e aponta perspectivas contemporâneas, que tornaram o espaço entre/em ambos mais fluido e plástico. A contribuição teórica aqui apresentada indicou a necessidade da inclusão de configurações geométricas mais instáveis no campo Labaniano e também a criação de percursos para a encarnação de conceitos, que pudessem representar essas novas interações. Como um dos territórios da pesquisa artística que fundamenta esta narrativa, o encontro com a tecnologia foi explorado, inicialmente, como uma forma de ampliar a experiência corpo-espacial dos atuantes formais e informais de uma performance, oferecendo a possibilidade de um desenho cênico que incluía a articulação entre espaços físicos e virtuais e de conexões espaciais de livre escolha. Mais recentemente, a relação se ampliou em uma experiência interdisciplinar de criação cênica e coreográfica em interatividade com processos computacionais. Nos exemplos apontados, o que rege a escolha das tecnologias é o interesse artístico e conceitual de investigar como cada tecnologia pode colaborar na criação, deslocamento e distorção de espaços performáticos.

RESUMO: Este artigo aborda o surgimento do termo arte site-oriented ou site funcional como uma alternativa atualizada à já consolidada arte site-specific. Na arte site-oriented, a passagem do artista pelo site é um processo, uma operação que ocorre entre lugares, um mapeamento de filiações institucionais e discursivas e dos corpos que se movem entre eles. Assumindo o lugar como uma forma humanizada de entender o espaço, afirma-se o artista itinerante em sua passagem pelo lugar como fundamental nos processos de subjetivação, assumindo o fazer artístico em uma metodologia para a criação do eu contemporâneo, do ser artista em si.
Palavras chave: arte site-oriented, processos de subjetivação, lugar, artista itinerante

Nestled in the mountains of the Hudson Valley, Storm King Art Center has served as a model for outdoor sculpture parks across the world, attracting visitors to its 500 acres of expansive fields and rugged, forested topography. This thesis, both a research paper and a biogeographic species identification map, sets out to analyze Storm King’s past, present, and future land relations through a hybrid art historical and ecocritical interrogation of its sculpture collections, its landscaping practices, and how these curatorial and conservation strategies have shaped the park’s biodiversity. Beginning with Storm King’s founding and development from the 1960s and '90s, I use archival documents and oral histories, framed by case studies of art made by sculptors David Smith, Kenneth Snelson, and Mark di Suevro to explore the land’s pre-museum agricultural and industrial history and discuss the institution’s early landing projects for outdoor art display. I then turn to the park’s present operations to see how the site-specific and living sculptures by Maya Lin, Peter Coffin, and Chakaia Booker spurred new questions of multispecies collaboration and sustainable stewardship. Lastly, I look to Storm King’s future, using pieces by Sarah Sze, Richard Serra, and David Brooks to analyze the park’s ongoing infrastructural expansion and implementation of climate-resilient maintenance strategies to speculate on the institution’s shifting mission as environmental caretaker and curator. An accompanying biodiversity map documents the species found around these works that influence Storm King’s past, present, and future terrain. As outdoor museums confront ongoing threats of ecological crisis, this art historical biogeography of Storm King Art Center engages in transhistorical debates of institutional stewardship by entangling enduring divisions between the manmade and natural, growth and decay. This project proposes an alternative interspecies, land-based ethic of collaborative care amidst shifting ecocultural terrain.

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