Site Specific Public Art

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.

This paper applied an ecocritical perspective on street art to expand on the notion that street art can have an impact on how we relate to urban public space. In doing so, it argued that street art is particularly well positioned to affect the way we think and act with regard to the environment.

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 ).

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.

The basic premise of this proposal is to initiate a competition to design a new public artwork based around the idea of a 'contemporary civic drinking fountain'. This new artwork would be located in a major city and would provide free drinking water to the public. The strategy of providing an artwork that combines the practical (free drinking water) with the aesthetic (a unique contemporary design) will challenge notions of public art, civic responsibility and the increasingly corporate nature of public space.

This chapter presents an ecocritical reading of street artworks by Spanish artist Isaac Cordal.

The chapter is part of a larger project that focuses on environmental street art. The project will culminate with the publication of a monograph later in 2018.

Introduction: What is being? Is it indefinable and incorporeal or tangibly real? It is probable that the ontological notion is fundamentally complex and unsolvable. Thus many philosophers have questioned and argued about the nature of being and attempted to seek answers to define its concept. And many conceptual artists in the contemporary era have investigated the subject of human existence and reflected on their works. It seems a universal concern. However it should not be regarded as a generalised idea. Equally, it should not be considered as an empty concept.

What does being itself indicate? We know it is a form of existence. There is no doubt that we know and understand that we are surrounded by existing things. However how, ultimately, have we come to exist in this world? According to Martin Heidegger, the activity of existing is defined as “being-in-the-world” (Dreyfus 1991: 40). He said that there is a relation between the human being and the world. [1] Human being entails being with others in a shared way of life in the world. Regarding the notion of “being-in” the world in this context, Heidegger stressed that the world is not to be conceived as the feature of spatiality, where objects are located (Dreyfus 1991: 40). It should rather be considered as an “involvement” with human beings, the world and with the other beings and things (Dreyfus 1991: 41). It refers not only to physical inclusion but also an existential sense of inclusion. In terms of relations, human beings connect to their own existence as well as the existence of others through the medium of the world (Dreyfus 1991).

Starting with this idea, this essay will explore a personal intellectual journey, focusing on Antony Gormley’s notion of the body and based on the ideas of Fritjof Capra, Tadao Ando and Martin Heidegger, which possibly illustrate the notion of relational being and non-anthropocentric being. The central idea of this essay is that Gormley’s casting figures express themselves through exploring the connection between physical and metaphysical self and the body in inter-relationship with the space and time in which we are equally involved with one another. Bodily presence is made aware of the connection between mind and body. In this regard, the perception of existence in the world comes about through interdependence of all things such as a fact, situation or action rather than as acknowledged by itself. Thus the sensibility of existence can be clarified in relational being.

I will begin by considering Gormley’s own idea of sculpture. It is manifested in the relationship between our minds and physical space and time. This idea will be explored here with reference to Capra’s notion of the inseparable connection between living beings and the world. Through the exploration, this essay will observe Gormley’s notion of the human body, which is the significant focus in his work of his concern with human existence. Considering the ontological idea, this paper will illustrate Gormley’s body-cast, which is the dominant process in the creation of his sculptural works. In connection with this artistic process, in this part, I will examine the notion of body-casting as a meditative art. It is based on Buddhist meditation as a function of the artist’s spiritual self-awareness. Through a thorough consideration of the meditative art, this paper will also attempt to examine Gormley’s concerns of the relation between body and space based on Ando’s relational notion between shintai and space. According to this idea, the body can be acknowledged as the world as well as the self. This essay will then explore the body as being space and being in space through a review of Gormley’s public installation, Broken Column at Stavanger, Norway in 2003. Here, the body denotes the implications of internal and external space and place in relation to the psychological and emotional aspects of the human mind.

Through the deliberations of the relationship between the body and space, this paper will examine the notion of bodily being in time with particular reference to Gormley’s sculptural installation works, Bed 1981 and Still IV 1994. In consideration of Heidegger’s notion of unified relationship between being and time, Gormley’s human body shapes in various postures imply bodily presence at a particular moment in time rather than merely presenting artificial sculptural figures. Through the exploration of his works, I will conclude that Gormley’s notion of body represents relational being in space and time.

[1] Heidegger used the word Dasein to describe the human being with the meaning of human existence or presence. It is derived from da-sein, which literally means being-there and there-being. It can refer to a way of being that is characteristic of people or a person-a human being (Dreyfus 1991).

The paper will draw on a key case study, GROVE, the art and architecture strategy recently completed in NHS Greater Glasgow & Clyde’s multi-award winning New Stobhill Hospital.  GROVE was developed by poet and artist Thomas A Clark and Andy Law, architect, Reiach & Hall, Edinburgh.  In GROVE Clark and Law focused on the experience of 'waiting' in hospital.  Their aim was to make waiting a reflective experience and to counteract the anxiety associated with hospitals. 
Clark and Law argue that the New Stobhill Hospital is a single work of art, and this is demonstrated by the 'composing' of spaces within the unifying theme of 'A grove of birch in a forest of larch'.  The artworks within the architecture that make up GROVE all represent or relate to nature, including short poems installed on walls and windows by Clark, as well as visual artworks (paintings, installations, video) by collaborating artists.  For example, across the outpatient clinic waiting areas a poem, a series of videos and installations contribute elements within the architecture to create a sequence of distinctive spaces.

This article o ers a philosophical account of a range of urban phenomena that are integral to the visual fabric of the modern city and, at the same time, external to the visual order administered by the city’s rulers. Explaining why the common terms of “gra ti” and “street art” are too narrow for discussing the plurality of the illicit visual forms that populate the city’s space, I coin the alternative term “streetography” and aim at a new understanding of its visual e cacy. This is done by showing that the key for deciphering the streetograph’s unique visuality is its form of embeddedness in the street and, in a corollary manner, the form of visual experience—the kinds of viewing—that the street opens for the urban viewer.
Streetographs always operate within the city’s given visual order and as such the question of their e cacy is addressed here in terms of the streetograph’s relationship to that hegemonic visual rule whose basic traits are also clari ed. Developing an understanding of this relationship, the article thus addresses the following questions: What kind of resistance can streetographs provide to the kind of optics that governs the modern urban space? Can streetographs evoke an alternative kind of spectatorship that disrupts the sovereign’s imagination? And, more speci cally, in an epoch in which streetographs are regularly absorbed into capitalist aesthetics— advertising, cinema, social media—how can they allow us to rethink the possibility of resisting the measure of a global capitalist visual system?

Котломанов А.О. Паблик-арт: страницы истории. Современное русское искусство в общественном пространстве. Часть 1. Монументальная скульптура. Вестн. С.-Петерб. гос. ун-та. Сер. 15. Искусствоведение. 2015. Вып. 4. С. 55—65.
Kotlomanov A.O. Public art: the pages of history. Contemporary Russian art in the public space. Part 1: Monumental sculpture. Vestnik SPbSU. Series 15. Arts, 2015, issue 4, pp. 55–65 (In Russian).
The article continues the series of publications on the topic of public art. It looks at some trends of Russian art life, the key subject is monumental sculpture of 1990–2000s. The article presents a comparative analysis of the strategies of the Western public art and public art of the Soviet Union. It highlights the work of Zurab Tsereteli that characterizes the situation of the traditional monumental sculpture as a whole. The author also focuses on some of the works of Ernst Neizvestny, Mihail Chemiakin and Rezo Gabriadze representing an alternative method of expressing ideas in the sculpture material. The final conclusions of the article are connected with the analysis of the possibility of development in Russia new forms and methods of public art.

Publikacja stanowi pierwsze polskie opracowanie naukowe w pełni poświęcone przedstawieniom site-specific. Moim celem nie było jednak stworzenie typologicznych klasyfikacji tych przedstawień, ani tym bardziej wyznaczenie ścisłej definicji tego, czym jest, a czym nie jest przedstawienie site-specific jako określona forma sztuki. Niezwykła różnorodność interesujących mnie zjawisk artystycznych, obejmujących działania z pogranicza teatru, sztuk wizualnych i instalacji artystycznych skłoniła mnie do sformułowania zupełnie nowej metody badania tego typu zjawisk, wychodzącej poza tradycyjny model badań teatrologicznych, zakładających ścisły podział na scenę i widownię. Wypracowana przez mnie metoda, czy – szerzej rzecz ujmując – nowy język opisu tych działań ujmuje skomplikowane i dynamiczne wzajemne oddziaływania, jakie zachodzą między wszystkimi uczestnikami przedstawień site-specific – miejscem, obiektami i działaniami artystycznymi oraz odbiorcami, przebywającymi w danej przestrzeni. Szczególnie interesowała mnie w tym kontekście kwestia doświadczenia tych ostatnich. Jak dowodzę, ze względu na multisensoryczny charakter tego doświadczenia, nie można ich dłużej określać terminem widzowie, gdyż pociąga on za sobą wyłącznie okulocentryczny sposób odbioru sztuki.

Contemporary efforts at urban revitalization have encouraged an increased production of site-specific public art events that temporarily inhabit popular city hubs. These "pop up" interventions range from loosely assembled happenings to the more institutionally supported all-night art festivals like Nuit Blanche. This paper examines the types of geospatial memory produced and inscribed through smallscale, participatory, site-specific urban art events. It considers how this work participates in forms of placemaking which both enact provisional and iterative forms of assembly while also marking the psychogeographic remains of space.

This essay does not just claim that contemporary engagement with monuments and contemporary artistic practice includes an extension of
history construction through social media; there is no doubt
about this. Monuments are already a mediation that reshapes constructions of past events for the present. Real-time digital documentation makes possible different levels of engagement, resistance, and re-mediation, on the side of production and later in the many layers of reception, in various (often newly constructed) public spheres, which are of course not less regulated. How do artists take into account this social media reality,
how to understand social engagement and performative interaction as monuments or with monuments, and how do we need to understand site in such a situation?  I start with a project by Cai Guo-Qiang, discuss the current state of site-specificity, how site relates to the debate around Confederate Monuments, to then dive into a discussion of artist Alexandra Pirici.

Desde 2003, el grupo Buenos Aires Sonora realiza intervenciones artísticas en diferentes espacios públicos tomando al sonido como su principal herramienta. El arte sonoro de este tipo comparte su vocación por una integración y un diálogo con los espacios a ser intervenidos con otras manifestaciones artísticas que se desarrollan en el espacio público, como la arquitectura, los monumentos, los graffitis y los stencils. Las creaciones de BAS toman en cuenta tanto los aspectos topológicos, que en el caso del sonido se traducen en el concepto de arquitectura acústica (su paisaje sonoro), como la carga simbólica y política de los espacios elegidos. En cambio, se diferencia radicalmente de expresiones que involucran lo visual porque el sonido no deja huellas en el espacio urbano, salvo en la conciencia de quienes asisten al tiempo acotado de la intervención. El carácter efímero de las intervenciones no necesariamente implica que las mismas puedan tener una dimensión monumental. En todo caso, dan cuenta de la explícita voluntad de otorgar a las obras de BAS el lugar de una nota al pie de la ciudad, un comentario que no pretende la hegemonía propia de los monumentos estatales. El presente artículo comenta y analiza los seis proyectos estrenados por BAS hasta el presente, para dar cuenta de las convergencias y divergencias entre el arte sonoro y las manifestaciones artísticas de otra naturaleza en espacios públicos.
Publicado originalmente en Revista L.I.S.Buenos Aires:
UBA, 2009 vol. n°3. p85 - 89. issn 1851-8931

Motivated by the context of large-scale developments and discussions taking place at Harvard Square (around 2017), lacking civic imagination, Dr. Zenovia Toloudi designed and taught a course at Dartmouth College Studio Art, on Art, Architecture, and Public Space (Fall 2018), which reimagines the public space of the square with an emphasis to engage the less privileged groups of society, as well as address civic concerns that are often neglected. The course focused upon how physical design and transformation of the environment could inspire civic imagination, even temporarily. Through their installations, interventions, and designs, students employed a variety of media aiming at improving (within the urban context of Harvard Square) general and specific conditions related to the public(s), such as the psychology of the individual, the inner- circle relationships among family and friends, face-to-face interactions as well as conversations among strangers, and equality for education in relation to the broader topic of undocumented students. What became clear through this investigation can be summarized in three recommended approaches a) improve human relationships and retreat from other ones; b) in response to current challenges, establish a design language that can better enable human potential; and c) start small (scale), so we can experience some change quickly (civic imagination), hoping to eventually inspire larger scale developments (policies, planning, etc).

“Down the Hill Entrusts” was a site-specific play devised by Kumbaracı50 stage about the mass urban transformation that is taking place in Istanbul. It was performed only at the beginning and at the end of 2012-13 theatre season, since play was outdoors and depended on good weather. The rules that the audience was asked to follow were written on key chains that were distributed at the beginning in return of their identity cards: “Don’t ask questions. / Follow officials’ orders. / Group won’t wait for you. / Your old key is inoperative. / Give your identity. / Don’t sing. / Thank you for your cooperation. ” The group devised the piece through the performers’ improvisations on the streets around the stage of Kumbaracı50, from which the performance was later made into one collective narrative. The audience listened the live monologues through the headphones as they walked with the group through the streets of Istanbul. The play was strongly site-specific, where it can’t be carried to another site; just as urban transformation cannot carry the urban culture and social relations of a society to other spaces. As the play continued, it was slowly revealed to the audience that they are already exiled from the city, and they are collecting the last people to be exiled with them. Audience walked through the streets followed by the performers who were picked up on the way after they gave their monologue. This particular technology worked as a tool to single the characters out from the crowds of the vibrant and living center of Istanbul, and entrusted these precious stories to the audience.

Examines Australian sculptor Norma Redpath's early interest in integration of art and architecture and her understanding of site-specificity as it related to her public sculpture commissions of the 1960s. Discusses Redpath's reading of Jung, particularly in relation to archetypal forms, and Christian Norberg-Schulz, specifically his ideas about the 'genius loci'. Artworks considered include Redpath's Treasury Fountain, Canberra (1965-69).

This book started as a compilation of a series of zines created to introduce students to the field of social practice. This book expands and adds to each of these zines while compiling all of the history examples into a single timeline for easy reference. Available at https://ellenmueller.com/product/some-social-practice/

FEATURES:
A list of exercises for in and out-of-class use
A sample syllabus, adaptable to 10 and 15-week terms
Challenging discussion questions
Charts to explain intersecting fields of study and spectrums in the field
Social practice book list
Tips for effective social practice

TABLE OF CONTENTS:
v – Introduction
7 – Definitions of Social Practice
13 – Spectrums, Continuums, & Variations in Social Practice
17 – Some Intersecting Fields of Study Related to Social Practice
21 – Some Systems / Topics Social Practice Frequently Touches On
25 – Some Forms / Approaches / Strategies of Social Practice
29 – Useful Skills for Social Practice
33 – Some Tips for Effective Social Practice
37 – Some Discussion Questions in Social Practice
41 – Evaluating Social Practice Projects
47 – Intersection of Craft and Social Practice
51 – A Social Practice Book List
57 – An Incomplete Survey of Social Practice (or Similar) Programs
61 – Some Social Practice History
61 – Early 1900s
69 – 1950s
75 – 1960s
83 – 1970s
91 – 1980s
99 – 1990s
111 – 2000s
125 – 2010s
149 – Appendix
150 – Sample Syllabus
152 – Sample Exercises
154 – Exercise Resources

Intra/extra muros : au-delà de la spécificité du lieu, ou le site dans le réseau des espaces publics. « Dans les Babels illusoires du langage, l'artiste peut avancer dans le but spécifique de se perdre. » 1 1. De point de vue historique, la problématique du site et de sa spécificité est liée aux tentatives minimalistes et conceptuelles de problématiser le rapport entre l'oeuvre artistique et son contexte d'exposition. Cependant, si l'art conceptuel a permis de redéfinir les conditions de production, de diffusion et de réception de l'objet artistique, il n'a pas pourtant pu échapper à sa propre fétichisation en tant que marchandise et à sa récupération par le circuit commercial qu'il a tenté de mettre en cause. Ainsi, malgré sa dématérialisation, la construction esthétique demeura « un objet d'échange dont l'accessibilité publique n'est qu'un leurre culturel ». Le travail critique de Claude Gintz, traducteur des textes de Benjamin Buchloh en France, rend compte de ce phénomène historique comme d'une sorte de fait marquant dans l'évolution du post-minimalisme et de l'art conceptuel. 2 Parallèlement, plusieurs travaux post-conceptuels ont poursuivi une critique du contexte institutionnel de l'art et de la manière dont ce dernier influe sur la production plastique proprement dite (Daniel Buren et Hans Haacke par exemple). Ces travaux engageaient un dialogue avec leur propre lieu d'exposition, visant à questionner la façon dont les structures d'encadrement et de diffusion de l'art conditionnent sa réception, son contenu et son rôle culturel, en le transformant en discours idéologique. Des oeuvres relevant du Land Art ont délocalisé l'entreprise esthétique, investissant des lieux non-institutionnels et introduisant un ensemble d'oppositions binaires à travers lesquelles la problématique du lieu (de sa valeur symbolique, phénoménologique, historique) 1 « In the illusory babels of language, an artist might advance specifically to get lost. » Robert Smithson, "A museum of Language in the Vicinity of Art", in Nancy Holt (éd.), Maison de la Culture et de la Communication, Saint-Etienne, 12 novembre 1987-16 janvier 1988, cat. d'exposition, p. 12. 1 sembla se détacher de celle du système d'encadrement de la production artistique. 3 Le site est ainsi engagé d'une manière forte, soulignant l'opposition entre le lieu de l'oeuvre (le non-site naturel dans lequel elle se réalise) et celui de l'institution (le site culturel dans lequel elle s'expose). Or, justement, la particularité de telles pratiques (notamment l'impossibilité d'une vision globale de l'oeuvre, son caractère éphémère et son accessibilité problématique), a nécessité le recours à des moyens de diffusion qui, bien qu'apparemment périphériques au travail proprement dit, ils en font pour autant partie intégrante. L'entreprise artistique est ainsi délocalisée encore une fois, à travers l'information, mais cette fois dans le sens inverse : si l'investissement des sites non-institutionnels marque un mouvement du centre vers la périphérie, l'emploi de moyens comme la photographie et le texte réinsère le travail dans le contexte institutionnel, sous forme d'objets amovibles et où l'art sert comme d'intermédiaire, il se place d'emblée dans le domaine de la communication. Jacques Derrida, cherchant à saisir le contenu véhiculé (mieux : communiqué) par le signifiant « communication », distingue entre l'emploi sémio-linguistique du terme et le sens qu'il prend dans le monde naturel ; dans le premier cas, la communication est conçue en termes de medium transitif de signification, comme moyen de transport de sens ; dans le second, le terme renvoie plutôt au passage, au pont qui peut relier deux lieux physiquement et culturellement séparés. 15 Comme le note Derrida, il ne faudrait pas considérer la communication au sens « naturel » comme primaire ou originelle, et sa signification linguistique comme une extension métaphorique de cette dernière. 16 La valeur de déplacement, de transport, est constitutive du concept de métaphore à travers lequel on essaie de rendre compte du déplacement sémantique qui advient entre les deux significations de la communication. En d'autres termes, la communication en tant que transfert de contenu ne saurait être expliqué à travers la métaphore : elle est métaphore. Dans sa contribution au catalogue de la Documenta 5 (1972), Robert Smithson mettait en question l'ensemble de l'infrastructure institutionnelle et commerciale du monde de l'art, en suggérant que « les musées, comme les prisons et les asiles, ont des locaux et des cellules, en d'autres termes, des chambres neutres appelées galeries. L'oeuvre d'art, une fois placée dans la galerie perd sa puissance et devient un objet transportable ou une surface désengagée tout comme le parergon, il est un pont, un passage, il assure la communication entre deux espaces publics différents, qu'il parvient à lier à travers l'emploi de formes populaires d'appropriation de la Haute Culture et de ses dérivés. Le site est abordé comme un pont et, mis en perspective culturelle, se positionne à l'intersection et assure la communication d'autres lieux possibles. Comme le note Hirschhorn « le plus important, c'est de créer des liens entre les choses qu'on ne peut pas lier ». Vangelis Athanassopoulos 18 Projet pour la Documenta 11, Kassel, 2002.

Documento-base para conferência online. Mote: Arte Pública
na perspectiva de uma retórica total do espaço urbano, da esfera pública e do horizonte cultural. A partir de uma paisagem conceptual, uma atitude genealógica – especificamente patente nalguma arte contemporânea que se interessa pela cidade – informa tácticas individuais e colectivas face aos desafios da comunicação e da mediação urbanas. Em suma, certas 'imagens' do urbano são persuasivas acções retóricas. São criatividade situada, falando por si. Em suma, a arte é crucial para participarmos na criação urbana a vários níveis e nas várias dimensões do quotidiano. As lições da arte como discurso persuasivo pode assim enriquecer e sustentar aspectos-chave do Urbanismo Táctico.

Raising the persistence question about architectural entities consists in asking what is necessary and sufficient for a past or future architectural entity, like a building, to exist now. In this paper I investigate how the persistence question about buildings is affected by their spatial relocation. Why do we normally doubt that Notre Dame can survive its meticulous stone-by-stone transfer to Las Vegas? I argue that, since architectural plans are not capable of specifying all the constitutive properties of a building, the source of differentiation among constitutive and non-constitutive properties for buildings lies in a property’s being eligible or not eligible to be aesthetically relevant in the aesthetic judgements about them. As a matter of fact, our aesthetic judgements about buildings often concern, and are grounded on, extrinsic contextual properties. This explains why buildings can usually not survive relocation: because normally there is no basis for ruling out any extrinsic contextual feature of the building as inessential. I also try to explain why the change from thirteenth century Paris to contemporary Paris proved not to be lethal to Notre Dame’s persistence, in spite of its being more significant than other imaginary context changes that we would easily count as fatal.

Пътуването в смисъл на преминаване, било то физическо – на субект през определено пространство, или философско – като процес на себеосъзнаване, се наблюдава в много произведения на българското неконвенционално и съвременно изкуство.
Това „преминаване“ може да се определи като основен формообразуващ фактор за много творби, особено в зората на зараждането на N-формите в България от края на ХХ век. Хепънингите и акциите на открито, както и пърформансите от 90-те години на ХХ век, случващи се в алтернативни пространства, осъзнато или не, залагат идеята за път, пътуване и преминаване в основата на своите концепции. В примерите от този период идеята за пътуването и придвижването в пространството се изразява понякога в буквално преминаване през някакви препятствия, пренасяне на даден обект или оставяне определени следи по пътя си. На по-късен етап в съвременното българско изкуство тази тенденция се доразвива в една концептуална линия, обединяваща редица автори, групи и произведения, както в алтернативна, така и в галерийна среда. Чрез пътуването на авторите на дневен ред
се поставя въпросът за себеосъзнаването посредством физическото преминаване от едно място към друго, като се преодоляват редица трудности. В много от примерите
сетивността е основен инструмент на това осъзнаване и чрез нея целият процес на пътуване придобива търсения смисъл.

Arte sonoro en el espacio público. Condiciones para su desarrollo actual en la Argentina.
Publicado originalmente en  Revista Afuera. Estudios de Crítica cultural.Buenos Aires: Revista Afuera. 2008 vol. n°4.
Issn 1850-6267.
www.revistaafuera.com
El presente artículo se propone analizar las condiciones que han promovido el surgimiento de obras de arte sonoro en  la historia reciente de la Argentina.  Se toma como eje central la intervención realizada en la Plaza de Mayo, Mayo, los sonidos de La Plaza (2003, repetida en 2006, y producida por el grupo Buenos Aires Sonora, del cual soy su director), se establecerá una comparación entre las condiciones sociales, estéticas, materiales y tecnológicas existentes en 1968 y el presente.

Figure 2224 was a site-related performance that was produced for IdentityLab and gallery DEPO in Istanbul 20 May 2016, an essay about is to read in the book "Between Places".

Between Places is an anthology compiling reflections about how identity is made and performed through the movement of the self and/or experiences of places under transformation. Parts of the book is directly or indirectly relating to the artistic research project IdentityLab that was initiated by Cuguoğlu and Ewerlöf and was executed in Sweden and Turkey in 2016.

Edited by Naz Cuguoğlu and Susanne Ewerlöf
Contributors: Fikret Atay, Hera Büyüktaşçıyan, Ferhat Özgür, Katarina Pirak Sikku, Liv Strand, Can Sungu and Lisa Torell.
Design by Erik Månsson

Exchanging Notes on Identity & Places
Susanne Ewerlöf, Naz Cuguoglu, Liv Strand and Can Sungu, p.8

Figure 2224
Lisa Torell p.34

Badjelántta Luottat(Traces from the Land Above)
Katarina Pirak Sikku, p.44

Geography, Migration & Dressing Policy
Ferhat Özgur, p.54

Conversation with Fikret Atay
Susanne Ewerlöf, NazCuguoglu & Fikret Atay, p.62

Revolutions break out on ships & utopias are lived on islands
Hera Büyüktasçyan, p.68

Котломанов А.О. Паблик-арт: страницы истории. Современное русское искусство в общественном пространстве. Часть 2. Новые формы // Вестн. С.-Петерб. гос. ун-та. Сер. 15. Искусствоведение. 2016. Вып. 1. С. 68—80.
Kotlomanov A.O. Public art: the pages of history. Contemporary Russian art in the public space. Part 2: New forms of art. Vestnik SPbSU. Series 15. Arts, 2016, issue 1, pp. 68–80 (In Russian).
The article continues the series of publications on the topic of public art. It looks at some trends of Russian art life of the last two decades; the key subject is contemporary art. The article presents the most vivid examples of social activity of contemporary Russian artists associated with collective projects and art festivals. Also it makes a comparative analysis of the Western public art and its analogies in Russia. It analyzes the reaction of the domestic public to contemporary art, the interactions of the artists and society. The author focuses on public art projects in St. Petersburg, Moscow and Perm, highlighting the most typical, in his view, names and events. The final conclusions of the article are connected with analysis of the possibility of development in Russia distinctive forms and methods of public art.

The City (as) Place: Performative Re-mappings of Urban Space Through Artistic Research" This essay examines the potential value of artistic research within the urban environment by outlining three public-art projects I have worked on over the last decade. These projects include two collaborative public art installations Collect My Junk (2005) and Dear Ruth (2009), and my current artistic research project Mobile Art Studio (2014-). The three projects share a commitment to performatively re-mapping urban space via site-specific, intermedial installations. The work investigates the inter-animating layers of history, culture and matter that make up the spaces we live in. Each project employs phenomenological and performative inquiries into the relations between spaces and the objects and architectural structures contained within them. Drawing on methods of dwelling, collecting and remediation, each project aims to address the complex, varied and at times invisible histories of our city landscapes. The public art component of the projects foster discussions with the audience around how our lived experience of spaces inflect our sense of self, our migrations and mobilities, our encounters with development and gentrification, and our civic responsibilities to one another and to the environment. I trace a course across these three works, showing my purposeful move from implicit research questions in the earlier works toward an explicit practice-based research agenda in the current project. This trajectory reveals both the potential and limitations of various methods I have explored. It also speaks to where my work fits within the terminology currently used to discuss work at the intersection of creative and scholarly research practices. Under the broad continuum of artistic research, I situate my work as practiceas-research, or as it is termed within Canadian social science and humanities discourse, 2 research-creation. I am an interdisciplinary artist-scholar working between communication studies, performance studies, film and media studies and visual culture.

The Professorship of art and public space organizes a symposium on the transformations of the
public realm and the possibilities for art and design to play a role there since the 1960s.
Dutch policies regarding public space have a long history of ideas on the communal and
educational potentials of visual art. Shifts in concepts and practices of public space as well as
concepts of art have given this tradition new directions.
During the last decades artworks have for instance been functioning as stimuli for the senses, as
demarcations for specific places and spaces, and as agents for social change. This symposium
focuses on the relation between art and the public domain in the post-industrial societies and
more specifically on the transformations during the last 40 years.

City lives, breathes with human stories, soaks with memories. According to the object-oriented ontology and psychogeography it is not just a stage or scenography for our existence, it is an active partner with whom we enter into a dialogue every day. Artistic activities are a special type of such a
dialogue. Above all, the site-specific activities assume real cooperation with the space. This is a kind of 'relational art', consisting of the delicate interaction with the place, playing on emotions and saturating the area with additional meanings.

In my paper I focus on Ksiezy Mlyn in Lodz, the postindustrial district that inspires artists to create site-specific artistic implementations. A place full of stories and emotions, which is a living archive of the factory workers’ memory, an industrial history of Lodz, but above all individual and moving human stories. In the text I present some of the artistic activities that were carried out on the Ksiezy Mlyn in 2013 and 2014, with special emphasis on soundwalks "Shoulder – stories of the trampled" and the project "FILLin". I refer to the contemporary oral histories and archival memories of the inhabitants from the sixties and seventies of the twentieth century, which are the starting point for the creation of these actions.

keywords: site-specific, participation, soundwalks, ubran art, oral history, anthropological archive studies, live archive, psychogeography, object-ontology

Asks how critical the physical location of Burning Man is to the art that is created. Considers the dynamic interplay between site (location), site (institution), and site (audience), which results in Miwon Kwon's concept of "discursive site" - a virtual site. Uses the example of two Burning Man artworks by Kate Raudenbush and Zachary Coffin which have made the transition from installations on playa to public installations off playa.