WHAT IS – –
Participatory and Relational Art ? – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
Education and Community Programmes, Irish Museum of Modern Art, IMMA
THE WHAT IS
– –
IMMA Talks Series ? – – – – – – – – – – – – – – – – – – – – – – – – –
There is a growing interest in Contemporary Art, yet the ideas and theoretical frameworks which inform its practice can be complex and difcult to access. By focusing on a number of key headings, such as participatory Arts, Installation Art and Performance Art, this series of talks is intended to provide a broad overview of some of the central themes and directions in Modern and Contemporary Art.
This series represents a response to a number o challenges. Firstly, the
03
inherent problems and contradictions that arise when attempting to outline or summarise the wide-ranging, constantly changing and contested spheres o both art theory and practice, and secondly, the use o summary terms to describe a range o practices, many o which emerged in opposition to such totalising tendencies. Taking these challenges into account, this talks series oers a range o perspectives, drawing on expertise and experience rom lecturers, artists, curators and critical writers and is neither denitive nor exhaustive. The intention is to provide background and contextual inormation about the art and artists eatured in IMMA’s exhibitions and collection in particular, and about
CONTENTS
Contemporary Art in general, to promote inormation sharing, and to encourage
What is __? talks series Introduction: Participatory and Relational Art
critical thinking, debate and discussion about art and artists. The talks series
page 03 page 04
addresses aspects o Modern and Contemporary Art spanning the period rom the 1940s to the present. Each talk will be supported by an inormation leaet which includes
A struggle at the roots of the mind: service and solidarity in dialogical, relational and collaborative perspectives in art - Brian Hand
page 08
bibliography and Further Reading Glossary of terms Participatory and Relational Art Resources
page 18 page 19 page 22
a summary, the presenter’s essay, a reading list, a glossary o terms and a resources list. This inormation can also be ound on IMMA’s website along with more detailed inormation about art works and artists eatured in IMMA’s Collection at www.imma.ie.
Philippe Parreno, The Boy from Mars, 2003. Image:
WHAT IS – –
Participatory and Relational Art ? – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
Introduction
As the national cultural institution responsible or the collection and presentation o Modern and Contemporary Art, the Irish Museum o Modern Art exhibits artworks by established and emerging artists who use media ranging rom painting and sculpture to installation, photography, video and perormance. IMMA’s Collection comprises artworks by Irish and international artists acquired through purchase, donations, loans and commissions. Many artworks have also been acquired through IMMA’s Temporary Exhibitions Programme and, on occasion, through IMMA’s Education and Community Programmes and Artists’ Residency Programme. In this introductory text, we provide a brie overview o the context in
04
which this evolving category o Participatory and Relational Arts has developed. Terms associated with Participatory and Relational Arts are indicated in CAPITALS and are elaborated on in the glossary on p. 19. We invited Brian
Participatory Arts can be artorm specic, such as visual arts, music or drama,
05
or they can be INTERDISCIPLINARY involving COLLABORATION across a range o artorms. They can also involve collaboration with non-art agencies, such as social inclusion organisations, local authorities and community development
Hand, artist, writer and lecturer, to respond to this subject. In his essay,
groups. The artwork produced can take many orms and, due to t he collabora-
A struggle at the roots o the mind: service and solidarity in dialogical, rela-
tive nature o Participatory Arts, this may comprise an event, a SITUATION or a
tional and collaborative perspectives in art , Hand ocuses on three aspects
PERFORMANCE, rather than the production o an object. The interactions that
o Participatory Arts: Dialogical Art, Relational Aesthetics and Collaborative/
emerge rom these encounters are oten translated into DOCUMENTARY
Collective Art Projects, as a means o exploring some o the key issues which
mediums, such as PHOTOGRAPHY, VIDEO or TEXT.
inorm and shape contemporary Participatory Arts practice. We hope these
The emergence o Participatory Arts is inormed by earlier AVANT-GARDE
texts will contribute to the ongoing debate about Participatory Arts. We also
movements such as DADA, CONSTRUCTIVISM and S URREALISM, which raised
hope to highlight the potential o IMMA and its programmes as a growing
questions with regard to notions o originality and authorship and challenged
resource or urther exploration and consideration o this subject.
conventional assumptions about the passive role o the viewer or spectator. In doing so they adopted an anti-bourgeois position on the role and unction o art.
What is Participatory and Relational Art?
PARTICIPATORY ARTS reers to a range o arts practice, including RELA-
The social, political and cultural upheavals o the 1960s and the perceived
TIONAL AESTHETICS, where emphasis is placed on the role o the viewer
elitism, social disengagement and COMMODIFICATION o art associated with
or spectator in the physical or conceptual realisation and reception o the
MODERNISM contributed to new orms o politicised, reactionary and socially
artwork. The central component o Participatory Arts is the active participa-
engaged practice, such as CONCEPTUAL ART, FLUXUS and SITUATIONISM. The
tion o the viewer or spectator. Many orms o Participatory Arts practice
development o new technologies and improved mechanisms o communication
oreground the role o collaboration in the realisation o an artwork, de-
and distribution, combined with the break down o medium-specic artorms,
emphasising the role o the proessional artist as sole creator or author o the
provided greater possibilities or artists to physically interact with the viewer.
artwork, while building social bonds through communal meaning and activity.
New orms o practice were developed by artists, who proactively sought out
The term Participatory Arts encompasses a range o arts practices inormed
new artistic mediums to shape mutual exchange through open and inclusive
by social, political, geographic, economic and cultural imperatives, such as
practices. These new orms o practice appropriated non-hierarchical social
COMMUNITY ARTS, ACTIVIST ART, NEW GENRE PUBLIC ART, SOCIALLY
orms and were inormed by a range o theoretical and practical disciplines,
ENGAGED ART and DIALOGICAL ART.
such as FEMINISM, POSTCOLONIAL THEORY, PSYCHOANALYSIS, CRITICAL THEORY and LITERARY THEORY. While questions o authorship raised Women from the Family Resource Centre, Inchicore & Joe Lee, Open Season, 1998. Image:
WHAT IS – –
Participatory and Relational Art ? – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
Introduction
As the national cultural institution responsible or the collection and presentation o Modern and Contemporary Art, the Irish Museum o Modern Art exhibits artworks by established and emerging artists who use media ranging rom painting and sculpture to installation, photography, video and perormance. IMMA’s Collection comprises artworks by Irish and international artists acquired through purchase, donations, loans and commissions. Many artworks have also been acquired through IMMA’s Temporary Exhibitions Programme and, on occasion, through IMMA’s Education and Community Programmes and Artists’ Residency Programme. In this introductory text, we provide a brie overview o the context in
04
which this evolving category o Participatory and Relational Arts has developed. Terms associated with Participatory and Relational Arts are indicated in CAPITALS and are elaborated on in the glossary on p. 19. We invited Brian
Participatory Arts can be artorm specic, such as visual arts, music or drama,
05
or they can be INTERDISCIPLINARY involving COLLABORATION across a range o artorms. They can also involve collaboration with non-art agencies, such as social inclusion organisations, local authorities and community development
Hand, artist, writer and lecturer, to respond to this subject. In his essay,
groups. The artwork produced can take many orms and, due to t he collabora-
A struggle at the roots o the mind: service and solidarity in dialogical, rela-
tive nature o Participatory Arts, this may comprise an event, a SITUATION or a
tional and collaborative perspectives in art , Hand ocuses on three aspects
PERFORMANCE, rather than the production o an object. The interactions that
o Participatory Arts: Dialogical Art, Relational Aesthetics and Collaborative/
emerge rom these encounters are oten translated into DOCUMENTARY
Collective Art Projects, as a means o exploring some o the key issues which
mediums, such as PHOTOGRAPHY, VIDEO or TEXT.
inorm and shape contemporary Participatory Arts practice. We hope these
The emergence o Participatory Arts is inormed by earlier AVANT-GARDE
texts will contribute to the ongoing debate about Participatory Arts. We also
movements such as DADA, CONSTRUCTIVISM and S URREALISM, which raised
hope to highlight the potential o IMMA and its programmes as a growing
questions with regard to notions o originality and authorship and challenged
resource or urther exploration and consideration o this subject.
conventional assumptions about the passive role o the viewer or spectator. In doing so they adopted an anti-bourgeois position on the role and unction o art.
What is Participatory and Relational Art?
PARTICIPATORY ARTS reers to a range o arts practice, including RELA-
The social, political and cultural upheavals o the 1960s and the perceived
TIONAL AESTHETICS, where emphasis is placed on the role o the viewer
elitism, social disengagement and COMMODIFICATION o art associated with
or spectator in the physical or conceptual realisation and reception o the
MODERNISM contributed to new orms o politicised, reactionary and socially
artwork. The central component o Participatory Arts is the active participa-
engaged practice, such as CONCEPTUAL ART, FLUXUS and SITUATIONISM. The
tion o the viewer or spectator. Many orms o Participatory Arts practice
development o new technologies and improved mechanisms o communication
oreground the role o collaboration in the realisation o an artwork, de-
and distribution, combined with the break down o medium-specic artorms,
emphasising the role o the proessional artist as sole creator or author o the
provided greater possibilities or artists to physically interact with the viewer.
artwork, while building social bonds through communal meaning and activity.
New orms o practice were developed by artists, who proactively sought out
The term Participatory Arts encompasses a range o arts practices inormed
new artistic mediums to shape mutual exchange through open and inclusive
by social, political, geographic, economic and cultural imperatives, such as
practices. These new orms o practice appropriated non-hierarchical social
COMMUNITY ARTS, ACTIVIST ART, NEW GENRE PUBLIC ART, SOCIALLY
orms and were inormed by a range o theoretical and practical disciplines,
ENGAGED ART and DIALOGICAL ART.
such as FEMINISM, POSTCOLONIAL THEORY, PSYCHOANALYSIS, CRITICAL THEORY and LITERARY THEORY. While questions o authorship raised Women from the Family Resource Centre, Inchicore & Joe Lee, Open Season, 1998. Image:
concerns about who participates in the denition and production o art, the
aspects o the art initiative were imperative. Dialogical Aesthetics is a term
relationship o the artwork to its audience became a central axis or these
used to describe the active role o dialogue in such socially-engaged art.
emerging orms o arts practice.
During this period, state bodies unding the arts began to impose
The presumed authorial control o the artist was challenged in
contingencies on their client organisations, such as MUSEUMS, GALLERIES,
particular by Conceptual artists who placed an emphasis on the idea or
theatres and arts organisations, with regard to encouraging public participation
concept rather than a tangible ar t object. They created artworks which could
in the arts, especially on the part o marginalised or socially excluded constitu-
be realised by others without the direct intervention o the artist. Artworks
encies. The utilisation o the arts to address non-arts agendas contributed to an
could take the orm o a set o instructions, where participants were directly
ongoing debate about the role o art and its relationship to its audience, which
involved in the co-creation o the artwork. Instructions were communicated
continues to inorm consideration o Participatory Arts today.
through a variety o media, such as photography, video, drawing, text,
In the late 1990s participatory concepts have been expanded upon by a
perormance, SOUND, SCULPTURE and INSTALLATION.
new generation o artists identied under the heading o RELATIONAL ART or
Similarly, Fluxus artists rejected traditional principles o cratsmanship,
06
Relational Aesthetics. This is a term coined by the French curator Nicolas
permanency o the art object and the notion o the artist as specialist. Fluxus
Bourriaud to describe a range o open-ended art practices, concerned with the
artists viewed art not as a nite object but as a time-based experience,
network o human relations and the social context in which such relations arise.
employing perormance and theatrical experiments. Fluxus artists were
Relational Art also stresses the notion o artworks as gits, taking multiple
interested in the transormative potential o art through collaboration.
orms, such as meals, meetings, parties, posters, casting sessions, games,
Spectators were encouraged to interact with the perormer, while plotless
discussion platorms and other types o social events and cooperations. In this
staged events let artworks open to artistic chance and interpretation.
context, emphasis is placed on the use o the artwork. Art is regarded as
Artworks were realised in a range o media, including musical scores,
inormation exchanged between the artist and the viewer which relies on the
perormances, events, publications, MULTIPLES and assembled environments constructed to envelop the observer. These initiatives were oten conceived with workshop characteristics, whereby the artist operated as acilitator,
07
responses o others to make it relational. In response to the rapid acceleration o real time communications in the twenty rst century a new term, ALTERMODERN, also devised by Bourriaud,
engaging the audience in philosophical discussions about the meaning o art.
proposes an alternative to the conceptual lineage o POSTMODERNISM.
Artworks oten took the orm o meetings and public demonstrations,
According to Bourriaud, the opening o new market economies and the mobility
HAPPENINGS or SOCIAL SCULPTURE, whereby the meaning o the work was
o artist and audience has stimulated new models or political and cultural
derived rom the collective engagement o the par ticipants. A common goal
exchange and participation. Through global distribution systems, artists can cut
o Fluxus, Happenings and Situationist events was to develop a new synthesis
across geographic and political boundaries. A new cultural ramework
between politics and art, where political activism was mirrored in street-
consisting o diaspora, migration and exodus oers alternative modes o
based arts practice as a radical means to eliminate distinctions between art
interpretation and understanding o the artwork. The decentralisation o global
and lie.
culture presents new ormats or exchange between artist and audience, which
The development o Participatory Arts practice has also been inormed
are continually susceptible and adaptable to readily-available technologies.
and shaped by the development o PUBLIC ART programmes, many o which
DIGITAL TECHNOLOGY and the INTERNET’S global social networks can
evolved in the context o large-scale urban renewal and regeneration
promote a sense o participation without the physical gathering o people in
initiatives. Participatory Arts programmes with their emphasis on public
any one location. This represents a undamental shit in traditional notions o
engagement and participation can be an important element in both the
community and our experience o artworks.
consensus-building process and critique o such regeneration initiatives. The economic downturn and social political turmoil o the 1980s
Participatory and Relational Art raise important questions about the meaning and purpose o art in society, about the role o the artist and the
combined with the alienating eects o capitalism and its impact on
experience o the audience as participant. Many arts organisations and
community structures, resulted in an increasing awareness o the potential o
museums and galleries, such as the Irish Museum o Modern Art, integrate the
the arts as a vehicle to address social issues, in particular issues o social
inclusive principles o Participatory Arts in their policy and practice, inorming
inclusion. Inuenced by earlier orms o socially-engaged and activist art,
strategies or programming and audience development to provide opportuni-
many Community Arts organisations and initiatives emerged during this
ties or meaningul engagement with Contemporary Art.
period. Community Arts emphasised the role o art in br inging about social change and empowering community members, oten rom socially or
For bibliography and urther reading see page 18.
economically marginalised communities. Community Arts projects oten took place at a local level where community consultation and participation in all
Sophie Byrne, Assistant Curator
Lisa Moran, Curator
Talks and Lectures Programme
Education and Community Programmes
concerns about who participates in the denition and production o art, the
aspects o the art initiative were imperative. Dialogical Aesthetics is a term
relationship o the artwork to its audience became a central axis or these
used to describe the active role o dialogue in such socially-engaged art.
emerging orms o arts practice.
During this period, state bodies unding the arts began to impose
The presumed authorial control o the artist was challenged in
contingencies on their client organisations, such as MUSEUMS, GALLERIES,
particular by Conceptual artists who placed an emphasis on the idea or
theatres and arts organisations, with regard to encouraging public participation
concept rather than a tangible ar t object. They created artworks which could
in the arts, especially on the part o marginalised or socially excluded constitu-
be realised by others without the direct intervention o the artist. Artworks
encies. The utilisation o the arts to address non-arts agendas contributed to an
could take the orm o a set o instructions, where participants were directly
ongoing debate about the role o art and its relationship to its audience, which
involved in the co-creation o the artwork. Instructions were communicated
continues to inorm consideration o Participatory Arts today.
through a variety o media, such as photography, video, drawing, text,
In the late 1990s participatory concepts have been expanded upon by a
perormance, SOUND, SCULPTURE and INSTALLATION.
new generation o artists identied under the heading o RELATIONAL ART or
Similarly, Fluxus artists rejected traditional principles o cratsmanship,
Bourriaud to describe a range o open-ended art practices, concerned with the
artists viewed art not as a nite object but as a time-based experience,
network o human relations and the social context in which such relations arise.
employing perormance and theatrical experiments. Fluxus artists were
Relational Art also stresses the notion o artworks as gits, taking multiple
interested in the transormative potential o art through collaboration.
orms, such as meals, meetings, parties, posters, casting sessions, games,
Spectators were encouraged to interact with the perormer, while plotless
discussion platorms and other types o social events and cooperations. In this
staged events let artworks open to artistic chance and interpretation.
context, emphasis is placed on the use o the artwork. Art is regarded as
Artworks were realised in a range o media, including musical scores,
inormation exchanged between the artist and the viewer which relies on the
perormances, events, publications, MULTIPLES and assembled environments
06
Relational Aesthetics. This is a term coined by the French curator Nicolas
permanency o the art object and the notion o the artist as specialist. Fluxus
constructed to envelop the observer. These initiatives were oten conceived with workshop characteristics, whereby the artist operated as acilitator,
07
responses o others to make it relational. In response to the rapid acceleration o real time communications in the twenty rst century a new term, ALTERMODERN, also devised by Bourriaud,
engaging the audience in philosophical discussions about the meaning o art.
proposes an alternative to the conceptual lineage o POSTMODERNISM.
Artworks oten took the orm o meetings and public demonstrations,
According to Bourriaud, the opening o new market economies and the mobility
HAPPENINGS or SOCIAL SCULPTURE, whereby the meaning o the work was
o artist and audience has stimulated new models or political and cultural
derived rom the collective engagement o the par ticipants. A common goal
exchange and participation. Through global distribution systems, artists can cut
o Fluxus, Happenings and Situationist events was to develop a new synthesis
across geographic and political boundaries. A new cultural ramework
between politics and art, where political activism was mirrored in street-
consisting o diaspora, migration and exodus oers alternative modes o
based arts practice as a radical means to eliminate distinctions between art
interpretation and understanding o the artwork. The decentralisation o global
and lie.
culture presents new ormats or exchange between artist and audience, which
The development o Participatory Arts practice has also been inormed
are continually susceptible and adaptable to readily-available technologies.
and shaped by the development o PUBLIC ART programmes, many o which
DIGITAL TECHNOLOGY and the INTERNET’S global social networks can
evolved in the context o large-scale urban renewal and regeneration
promote a sense o participation without the physical gathering o people in
initiatives. Participatory Arts programmes with their emphasis on public
any one location. This represents a undamental shit in traditional notions o
engagement and participation can be an important element in both the
community and our experience o artworks.
consensus-building process and critique o such regeneration initiatives.
Participatory and Relational Art raise important questions about the
The economic downturn and social political turmoil o the 1980s
meaning and purpose o art in society, about the role o the artist and the
combined with the alienating eects o capitalism and its impact on
experience o the audience as participant. Many arts organisations and
community structures, resulted in an increasing awareness o the potential o
museums and galleries, such as the Irish Museum o Modern Art, integrate the
the arts as a vehicle to address social issues, in particular issues o social
inclusive principles o Participatory Arts in their policy and practice, inorming
inclusion. Inuenced by earlier orms o socially-engaged and activist art,
strategies or programming and audience development to provide opportuni-
many Community Arts organisations and initiatives emerged during this
ties or meaningul engagement with Contemporary Art.
period. Community Arts emphasised the role o art in br inging about social change and empowering community members, oten rom socially or
For bibliography and urther reading see page 18.
economically marginalised communities. Community Arts projects oten took place at a local level where community consultation and participation in all
A struggle at the roots of the mind: service and solidarity in dialogical, relational and collaborative perspectives within contemporary art.
Sophie Byrne, Assistant Curator
Lisa Moran, Curator
Talks and Lectures Programme
Education and Community Programmes
Community, Bhabha outlines, is synonymous with the territory o the minority and the discourses o community are themselves ‘minority’ discourses incommensurable with the discourse o civil society.4 Community, he argues is the
Brian Hand
antagonist supplement o modernity. It becomes the border problem o the diasporic, the migrant, and the reugee. Community in this sense almost has an atavistic resonance because it predates capitalism and modern society and leads a “subterranean, potentially subversive lie within [civil society] because it reuses to go away”.5 In this sense invoking community is at once to locate a togetherness and paradoxically an estrangement rom or antagonism to the notion o a rame or limit to what constitutes a community. As Grant Kester argues: The community comes into existence […] as a result o a complex process o political sel-denition. This process oten unolds against the back
Introduction
08
Raymond Williams in his denition o community oers the dialectic o
drop o collective modes o oppression (racism, sexism, class oppression,
solidarity and service (working with people or voluntary work sometimes
etc.) but also within a set o shared cultural and discursive traditions.
paid), and sees this dialectic on a philosophical level as operating between
It takes place against the grain o a dominant culture that sustains itsel
idealism and sentimentality.1 For Williams solidarity equals positive change
by recording systematic orms o inequality (based on race, class, gender,
whereas service equals the paternalistic status quo. 2 In this short essay I will
and sexuality) as a product o individual ailure or nonconormity.6
explore how this dialectic between service and solidarity in relation to concepts and practices surrounding art orms that have prioritised an active social dimension has been conceptualised in recent art theory. A socially engaged or community based art practice is a current theme in discussions around contemporary art. This subject is very broad so to lessen the conusion I will look at just three distinct participatory approaches: dialogical art, relational aesthetics and collaborative/collective art projects. In the past 50 years, community based visual art s have emerged within working class and marginal communities both here and elsewhere and are now a well established set o practices aligned with the broad principles o community development. While participatory arts in general are recognised as an important tool in a bigg er scheme o grass roots social empowerment, a weakness in state supported community based arts activities, besides inadequate unding, has oten been the top down approach o sponsoring agencies/institutions. In this amiliar scenario artists are parachuted in and out and little attention is given to long term engagement. In our age o consumer orientated individualism, community, as Homi Bhabha reminds us, is something you develop out o. 3 Community can imply a herd like conormity, a suppression o dierence, or simply the ideal o individual reedom. The Arts Council has dropped the once popular term ‘community arts’ or the more neutral and arms length term ‘participatory arts’.
Tim Rollins & K.O.S., The Red Badge of Courage, 1988. Image:
09
A struggle at the roots of the mind: service and solidarity in dialogical, relational and collaborative perspectives within contemporary art.
Community, Bhabha outlines, is synonymous with the territory o the minority and the discourses o community are themselves ‘minority’ discourses incommensurable with the discourse o civil society.4 Community, he argues is the
Brian Hand
antagonist supplement o modernity. It becomes the border problem o the diasporic, the migrant, and the reugee. Community in this sense almost has an atavistic resonance because it predates capitalism and modern society and leads a “subterranean, potentially subversive lie within [civil society] because it reuses to go away”.5 In this sense invoking community is at once to locate a togetherness and paradoxically an estrangement rom or antagonism to the notion o a rame or limit to what constitutes a community. As Grant Kester argues: The community comes into existence […] as a result o a complex process o political sel-denition. This process oten unolds against the back
Introduction
08
Raymond Williams in his denition o community oers the dialectic o
drop o collective modes o oppression (racism, sexism, class oppression,
solidarity and service (working with people or voluntary work sometimes
etc.) but also within a set o shared cultural and discursive traditions.
paid), and sees this dialectic on a philosophical level as operating between
It takes place against the grain o a dominant culture that sustains itsel
idealism and sentimentality.1 For Williams solidarity equals positive change
by recording systematic orms o inequality (based on race, class, gender,
whereas service equals the paternalistic status quo. 2 In this short essay I will
and sexuality) as a product o individual ailure or nonconormity.6
explore how this dialectic between service and solidarity in relation to concepts and practices surrounding art orms that have prioritised an active
09
social dimension has been conceptualised in recent art theory. A socially engaged or community based art practice is a current theme in discussions around contemporary art. This subject is very broad so to lessen the conusion I will look at just three distinct participatory approaches: dialogical art, relational aesthetics and collaborative/collective art projects. In the past 50 years, community based visual art s have emerged within working class and marginal communities both here and elsewhere and are now a well established set o practices aligned with the broad principles o community development. While participatory arts in general are recognised as an important tool in a bigg er scheme o grass roots social empowerment, a weakness in state supported community based arts activities, besides inadequate unding, has oten been the top down approach o sponsoring agencies/institutions. In this amiliar scenario artists are parachuted in and out and little attention is given to long term engagement. In our age o consumer orientated individualism, community, as Homi Bhabha reminds us, is something you develop out o. 3 Community can imply a herd like conormity, a suppression o dierence, or simply the ideal o individual reedom. The Arts Council has dropped the once popular term ‘community arts’ or the more neutral and arms length term ‘participatory arts’.
Tim Rollins & K.O.S., The Red Badge of Courage, 1988. Image:
There is, to ollow Bhabha, Nancy and Pontbriand, a contemporary value
Dialogical Art
Dialogical art or aesthetics is an umbrella term borrowed rom Bakhtin and
in the concept o community because it somehow evades the grasp o the
Freire by Kester. Kester’s work tries to give legitimacy and a sound theoretical
bundle o discourses which describe it and remains opaque to itsel.7 As
grounding to the alternative practices o community arts, recognising them as
Douglas observes:
new orms o cultural production. To paraphrase Kester’s nuanced arguments: dialogical art aims to “replace the ‘banking’ style o art in which the artist
In ‘community’ the personal relations o men and women appear in
deposits an expressive content into a physical object, to be withdrawn later by
a special light. They orm part o the ongoing process which is only
the viewer, with a process o dialogue and collaboration”.9 Community based
partly organised in the wider social ‘structure’. Whereas ‘structure’
participatory art is a process led, rather than a product led, dialogical encounter
is dierentiated and channels authority through the system, in the
and participating entails sharing a desire to unveil or discover the power struc-
context o ‘community’, roles are ambiguous, lacking hierarchy,
tures o reality with a view to creatively imagining a contestatory and opposi-
disorganised. ‘Community’ in this sense has positive values associated
tional platorm where radical and plural democracy might take root. According
with it; good ellowship, spontaneity, warm contact … Laughter and
to Kester, and borrowing rom arguments by Walter Benjamin, art is not a xed
jokes, since they attack classication and hierarchy, are obviously apt
category/entity or thing, except that it reects the values and interests o the
symbols or expressing community in this sense o unhierarchised,
dominant class. For a host o art movements, especially avant garde ones,
undierentiated social relations.8
their relationship with the dominant order is channelled through a dialectical and oten contradictory relationship where a specic and important discursive
10
Indeed, while the denition o community resists empirical study and
system constructs art as a repository or values actively suppressed within the
interpretation there is something similar in the resistance to prot in the
dominant culture. “There is nothing inherent in a given work o art that allows
community artwork which, because o multiple authorship/ownership,
it to play this role; rather, particular ormal arrangements take on meaning only
remains unexchangeable and thereore economically unviable within the traditional art market and auction houses.
11
in relationship to specic cultural moments, institutional rames, and preceding art works”.10 So while the challenge art poses to xed categorical systems and instrumentalising modes o thought is important, it is not necessarily simply located in the artwork itsel as a discreet, bounded, ormally innovative object. Rather Kester argues that the tendency to locate t his principle o indeterminacy solely in the physical condition or orm o the work o art prevents us rom grasping an important act o perormative, collaborative art practice. “An alternative approach would require us to locate the moment o indeterminateness, o open-ended and liberatory possibility, not in the perpetually changing orm o the artwork qua object, but in the very process o communication and solidarity that the artwork catalyzes”.11 To uncouple the material orm rom social practice is not as straightorward as Kester makes out because both are overlayed and imbricated thoroughly in the history o Modernism. For Kester, dialogical art is an approach that separates itsel rom both the traditional non-communicative, mute and hermetic abstract modernist art (Rothko, Pollock, Newman) and the more strident innovative heterogeneous orms o shock based avant garde work (such as the Futurists, Surrealists and Dada movements or the more recent examples o work such as Christoph Schlingensie’s public art project Foreigners Out! ) designed to jolt the hapless alienated viewer into a new awareness. Kester argues that both anti-discursive traditions hold in common a suspicion about shared community values and that ‘art or the people’ suggests an assault on artistic reedom, individualism or even worse raises the spectre o ascism and Stalinism.12 While such ears are grounded in history, in many peaceul and settled democracies not under immediate threats rom extreme ideology, the tradition o anti-discursivity, isolation and negation still resonates in mainstream aesthetic practices.
Paddy Jolley, Rebecca Trost & Inger Lise Hansen, Hereafter, 2004. Image:
There is, to ollow Bhabha, Nancy and Pontbriand, a contemporary value
Dialogical Art
Dialogical art or aesthetics is an umbrella term borrowed rom Bakhtin and
in the concept o community because it somehow evades the grasp o the
Freire by Kester. Kester’s work tries to give legitimacy and a sound theoretical
bundle o discourses which describe it and remains opaque to itsel.7 As
grounding to the alternative practices o community arts, recognising them as
Douglas observes:
new orms o cultural production. To paraphrase Kester’s nuanced arguments: dialogical art aims to “replace the ‘banking’ style o art in which the artist
In ‘community’ the personal relations o men and women appear in
deposits an expressive content into a physical object, to be withdrawn later by
a special light. They orm part o the ongoing process which is only
the viewer, with a process o dialogue and collaboration”.9 Community based
partly organised in the wider social ‘structure’. Whereas ‘structure’
participatory art is a process led, rather than a product led, dialogical encounter
is dierentiated and channels authority through the system, in the
and participating entails sharing a desire to unveil or discover the power struc-
context o ‘community’, roles are ambiguous, lacking hierarchy,
tures o reality with a view to creatively imagining a contestatory and opposi-
disorganised. ‘Community’ in this sense has positive values associated
tional platorm where radical and plural democracy might take root. According
with it; good ellowship, spontaneity, warm contact … Laughter and
to Kester, and borrowing rom arguments by Walter Benjamin, art is not a xed
jokes, since they attack classication and hierarchy, are obviously apt
category/entity or thing, except that it reects the values and interests o the
symbols or expressing community in this sense o unhierarchised,
dominant class. For a host o art movements, especially avant garde ones,
undierentiated social relations.8
their relationship with the dominant order is channelled through a dialectical and oten contradictory relationship where a specic and important discursive
Indeed, while the denition o community resists empirical study and
system constructs art as a repository or values actively suppressed within the
interpretation there is something similar in the resistance to prot in the
dominant culture. “There is nothing inherent in a given work o art that allows
community artwork which, because o multiple authorship/ownership,
it to play this role; rather, particular ormal arrangements take on meaning only
remains unexchangeable and thereore economically unviable within the
10
traditional art market and auction houses.
11
in relationship to specic cultural moments, institutional rames, and preceding art works”.10 So while the challenge art poses to xed categorical systems and instrumentalising modes o thought is important, it is not necessarily simply located in the artwork itsel as a discreet, bounded, ormally innovative object. Rather Kester argues that the tendency to locate t his principle o indeterminacy solely in the physical condition or orm o the work o art prevents us rom grasping an important act o perormative, collaborative art practice. “An alternative approach would require us to locate the moment o indeterminateness, o open-ended and liberatory possibility, not in the perpetually changing orm o the artwork qua object, but in the very process o communication and solidarity that the artwork catalyzes”.11 To uncouple the material orm rom social practice is not as straightorward as Kester makes out because both are overlayed and imbricated thoroughly in the history o Modernism. For Kester, dialogical art is an approach that separates itsel rom both the traditional non-communicative, mute and hermetic abstract modernist art (Rothko, Pollock, Newman) and the more strident innovative heterogeneous orms o shock based avant garde work (such as the Futurists, Surrealists and Dada movements or the more recent examples o work such as Christoph Schlingensie’s public art project Foreigners Out! ) designed to jolt the hapless alienated viewer into a new awareness. Kester argues that both anti-discursive traditions hold in common a suspicion about shared community values and that ‘art or the people’ suggests an assault on artistic reedom, individualism or even worse raises the spectre o ascism and Stalinism.12 While such ears are grounded in history, in many peaceul and settled democracies not under immediate threats rom extreme ideology, the tradition o anti-discursivity, isolation and negation still resonates in mainstream aesthetic practices.
Paddy Jolley, Rebecca Trost & Inger Lise Hansen, Hereafter, 2004. Image:
Dialogical art, or conversational art as Bhabha termed it, oregrounds the encounter and interpretation o the co-producers o the art work and as such is against the traditional scenario where a given object or artiact produced by an individual art ist is oered to the viewer. Some examples or Kester o solidarity orientated dialogical art include some o the work o WochenKlausur, Suzanne Lacey, Hope Sandrow, Ne Pas Plier, Ultra Red, Maurice O’Connell and the ROUTES project in Belast in 2002. Examples o work closer to the service or paternalistic end o the spectrum or Kester, include some o the work o Alredo Jaar, Fred Wilson, and Dawn Dedeaux. For Kester there are just too many examples o institutional led community based work by well known and established artists that reinorce the neo Victorian view o a given ‘disadvantaged’ “community or constituency as an instrumentalised and ctively monolithic entity to be ‘serviced’ by the visiting artist”.13 As Sholette has observed, “the avant garde promise to drag art out o the museums and into lie is today remarkably visible in all the wrong places. Museums and oundations now claim to nurture art as social activism”.14
12
Relational Aesthetics
The criticism that participatory projects in the art world can be toothless is clearly present in the critique o relational aesthetics by Bishop, Foster, and
13
more recently Martin.15 Relational aesthetics is a term coined by French curator and writer Nicolas Bourriaud and relates to a diverse body o work made by artists in the 1990s, such as Liam Gillick, Rirkrit Tiravanija, Felix GonzalezTorres, Vanessa Beecrot and Philippe Parreno, that oregrounds interactivity, conviviality and relationality as the subject o its artistic practice. This social rather than socialist turn is seen as a direct response rom the privileged art world to the increasingly regimented and technologically administered society. Again like the theory o dialogical art there is little emphasis in relational aesthetics on the art object as such and what the artist “produces, rst and oremost, is relations between people and the world by way o aesthetic objects”.16 There is a urther similarity in that relational aesthetics rejects the non-communicative strategies o autonomous abstract art that avoided content like the plague. Bourriaud’s argument is provocative and interesting in that it sees art rom a Marxist perspective as an apparatus or reproducing the all encompassing hegemonic capitalist ideology, but due to the complexity o the cultural sphere in the age o inormation there are slips and gaps within the reproduction o the dominant ideology that can be exploited by certain artists as creative heteronomous interstices. Hence while acknowledging on the one hand institutionally supported contemporary art’s complete immersion in capitalist relations and submission to capitalist imperatives, Bourriaud believes that relational art can, within this system: create ree areas, and time spans whose rhythm contrasts with those structuring everyday lie, and it encourages an inter-human commerce that diers rom t he ‘communication zones’ that are imposed on us.17 Shane Cullen, Fragments Sur Les Institutions Républicaines IV, 1993 – 1997. Image:
Dialogical art, or conversational art as Bhabha termed it, oregrounds the encounter and interpretation o the co-producers o the art work and as such is against the traditional scenario where a given object or artiact produced by an individual art ist is oered to the viewer. Some examples or Kester o solidarity orientated dialogical art include some o the work o WochenKlausur, Suzanne Lacey, Hope Sandrow, Ne Pas Plier, Ultra Red, Maurice O’Connell and the ROUTES project in Belast in 2002. Examples o work closer to the service or paternalistic end o the spectrum or Kester, include some o the work o Alredo Jaar, Fred Wilson, and Dawn Dedeaux. For Kester there are just too many examples o institutional led community based work by well known and established artists that reinorce the neo Victorian view o a given ‘disadvantaged’ “community or constituency as an instrumentalised and ctively monolithic entity to be ‘serviced’ by the visiting artist”.13 As Sholette has observed, “the avant garde promise to drag art out o the museums and into lie is today remarkably visible in all the wrong places. Museums and oundations now claim to nurture art as social activism”.14
12
Relational Aesthetics
The criticism that participatory projects in the art world can be toothless is clearly present in the critique o relational aesthetics by Bishop, Foster, and
13
more recently Martin.15 Relational aesthetics is a term coined by French curator and writer Nicolas Bourriaud and relates to a diverse body o work made by artists in the 1990s, such as Liam Gillick, Rirkrit Tiravanija, Felix GonzalezTorres, Vanessa Beecrot and Philippe Parreno, that oregrounds interactivity, conviviality and relationality as the subject o its artistic practice. This social rather than socialist turn is seen as a direct response rom the privileged art world to the increasingly regimented and technologically administered society. Again like the theory o dialogical art there is little emphasis in relational aesthetics on the art object as such and what the artist “produces, rst and oremost, is relations between people and the world by way o aesthetic objects”.16 There is a urther similarity in that relational aesthetics rejects the non-communicative strategies o autonomous abstract art that avoided content like the plague. Bourriaud’s argument is provocative and interesting in that it sees art rom a Marxist perspective as an apparatus or reproducing the all encompassing hegemonic capitalist ideology, but due to the complexity o the cultural sphere in the age o inormation there are slips and gaps within the reproduction o the dominant ideology that can be exploited by certain artists as creative heteronomous interstices. Hence while acknowledging on the one hand institutionally supported contemporary art’s complete immersion in capitalist relations and submission to capitalist imperatives, Bourriaud believes that relational art can, within this system: create ree areas, and time spans whose rhythm contrasts with those structuring everyday lie, and it encourages an inter-human commerce that diers rom t he ‘communication zones’ that are imposed on us.17 Shane Cullen, Fragments Sur Les Institutions Républicaines IV, 1993 – 1997. Image:
It is a French tradition to invest in art as a strategically resistant activity and
+ K.O.S. operated by sometimes tortuously arrived-at consensus), but also o
Sartre viewed the primary aim o art to challenge the established interests
credit and ownership”.22 Celebrated art groups o more than two members in
within society, so Bourriaud’s relational aesthetics sets itsel in opposition to
the past 100 years include the Omega workshop, The Russian Constructivists,
the culture o commodied individualism. As Liam Gillick claims: his object
Berlin Dada, the Situationists, Gutai, CoBrA, Fluxus, Art & Language, the Guerilla
based work is only activated by an encounter with an audience. “My work is
Girls, the Black Audio Film Collective, Act Up, Gran Fury, RTMark, Critical Art
like the light in the ridge, it only works when there are people there to open
Ensemble, Paper Tiger and Temporary Services. With the exception o the writ-
the door. Without people, it’s not art – it’s something else stu in a room”.18
ings o Sholette, Gablik and edited publications by Thompson and Sholette and
This is a common perception o the experience o theatre, where the audi-
Sholette and Stimson, contemporary work made by collaborative groups has
ence gathers and orms a body or the duration o the perormed event. The
oten ailed to merit serious critical attention.23 Having co-ounded and worked
limits o this interactive empowerment o an audience community can be
with the collaborative groups Blue Funk, The Fire Department and 147, as well
seen in the marketable success o the individual signature o the international
as participating with the collective RepoHistory, I can speak rom experience
artists associated with relational aesthetics. As Adorno observed about the
that there are multiple challenges in group art making and art activism. Art col-
underlying use value o the exhibition, “the words museum and mausoleum
lectives are risky as sharing does not come easily to visual artists and the tacit
are connected by more than phonetic association. They testiy to t he neu-
knowledge o one’s practice can be difcult to communicate. Group ormation
tralisation o culture”.19 Yet while Bourriaud celebrates the role o the artist as
is interesting in terms o how a shared political position can motivate action
a service provider he does caution:
and organise a group to tackle an issue. A transitive relationship is implied in making collaborative work and becoming engaged in the wider social and po-
O course, one ears that these artists may have transormed
litical arena. Conversely the lack o artists’ groups signals a lack o problematic
themselves under the pressure o the market into a kind o
issues within the cultural/communal sphere or is it a sign o a more widespread
merchandising o relations and experience. The question we might
14
raise today is, connecting people, creating interactive, communicative experience: What or? What does the new kind o contact produce?
15
inertness where we have become what Agamben sees as “the most docile and cowardly social body that has ever existed in human history?”24 Joining or orming a collaborative art group or collective may impoverish
I you orget the “what or?” I’m araid you’re let with simple Nokia
you, but it is paradoxically good or one’s individual identity and at least your
art – producing interpersonal relations or their own sake and never
lie expectancy. As our society dismantles most o the traditional groups like
addressing their political aspects.20
the nuclear amily or example and replaces them with consumer orientated liestyles, collective identity can re-value individual participation and sel worth.
Our current era is characterised as the era o the service led consumer econ-
As Habermas has argued “a person can constitute an inner centre only to the
omy and many artists are now earning a modest income rom the payment
extent that he or she can nd sel expression in communicatively generated in-
o ees rom cultural institutions or participating in exhibitions and other
terpersonal relations”.25 In this sense, the agency to express solidarity or oppo-
activities including institution led participatory arts programmes like those at
sition with the other, is signicantly dierent to the relentless mass organisation
IMMA or indeed temporary public art programmes unded by percent or the
o our lives into stratied data banks, market segments, audiences, biometrics,
arts schemes. As Sholette observes:
google accounts and biological samples, what Deleuze calls the administered orms o collective control.
cultural tourism and community-based art practice must be thought
Judging work, be it dialogical, relational or collaborative on a scale rom
o as a local consequence o the move towards a privatized and global
solidarity to service asks o the reader to reect on the social dimension o par-
economy […] the remnants o public, civic culture aim to make art
ticipation and the material dimension o social practice rom aesthetic/politi-
appear useul to the voting population as a orm o social service
cal perspectives. The uture that is mapped out in phrases like the ‘knowledge
and tourism.21
economy’, ‘virtual communities’ and ‘cultural industries’ is a uture that threatens solidarity through corporate control. I hope artists, students, and audiences at IMMA remain alive to dealing with these complex orces and engage with
Collaborative/ Collective Art Projects
Solidarity implies a dierent kind o economic relationship, something more reciprocal and committed than nancially dependent. Collaborative groups are the nal approach that I wish to consider in this discussion on participation and the work they make “can raise complex questions about participation among artists - not just issues o process (Group Material and Tim Rollins
what Williams generously believed art could be: a struggle at the roots o mind to gure out an embodied sense o creative engagement with sel-composition and social composition.26
It is a French tradition to invest in art as a strategically resistant activity and
+ K.O.S. operated by sometimes tortuously arrived-at consensus), but also o
Sartre viewed the primary aim o art to challenge the established interests
credit and ownership”.22 Celebrated art groups o more than two members in
within society, so Bourriaud’s relational aesthetics sets itsel in opposition to
the past 100 years include the Omega workshop, The Russian Constructivists,
the culture o commodied individualism. As Liam Gillick claims: his object
Berlin Dada, the Situationists, Gutai, CoBrA, Fluxus, Art & Language, the Guerilla
based work is only activated by an encounter with an audience. “My work is
Girls, the Black Audio Film Collective, Act Up, Gran Fury, RTMark, Critical Art
like the light in the ridge, it only works when there are people there to open
Ensemble, Paper Tiger and Temporary Services. With the exception o the writ-
the door. Without people, it’s not art – it’s something else stu in a room”.18
ings o Sholette, Gablik and edited publications by Thompson and Sholette and
This is a common perception o the experience o theatre, where the audi-
Sholette and Stimson, contemporary work made by collaborative groups has
ence gathers and orms a body or the duration o the perormed event. The
oten ailed to merit serious critical attention.23 Having co-ounded and worked
limits o this interactive empowerment o an audience community can be
with the collaborative groups Blue Funk, The Fire Department and 147, as well
seen in the marketable success o the individual signature o the international
as participating with the collective RepoHistory, I can speak rom experience
artists associated with relational aesthetics. As Adorno observed about the
that there are multiple challenges in group art making and art activism. Art col-
underlying use value o the exhibition, “the words museum and mausoleum
lectives are risky as sharing does not come easily to visual artists and the tacit
are connected by more than phonetic association. They testiy to t he neu-
knowledge o one’s practice can be difcult to communicate. Group ormation
tralisation o culture”.19 Yet while Bourriaud celebrates the role o the artist as
is interesting in terms o how a shared political position can motivate action
a service provider he does caution:
and organise a group to tackle an issue. A transitive relationship is implied in making collaborative work and becoming engaged in the wider social and po-
O course, one ears that these artists may have transormed
litical arena. Conversely the lack o artists’ groups signals a lack o problematic
themselves under the pressure o the market into a kind o
issues within the cultural/communal sphere or is it a sign o a more widespread
merchandising o relations and experience. The question we might
14
raise today is, connecting people, creating interactive, communicative experience: What or? What does the new kind o contact produce?
inertness where we have become what Agamben sees as “the most docile and
15
cowardly social body that has ever existed in human history?”24 Joining or orming a collaborative art group or collective may impoverish
I you orget the “what or?” I’m araid you’re let with simple Nokia
you, but it is paradoxically good or one’s individual identity and at least your
art – producing interpersonal relations or their own sake and never
lie expectancy. As our society dismantles most o the traditional groups like
addressing their political aspects.20
the nuclear amily or example and replaces them with consumer orientated liestyles, collective identity can re-value individual participation and sel worth.
Our current era is characterised as the era o the service led consumer econ-
As Habermas has argued “a person can constitute an inner centre only to the
omy and many artists are now earning a modest income rom the payment
extent that he or she can nd sel expression in communicatively generated in-
o ees rom cultural institutions or participating in exhibitions and other
terpersonal relations”.25 In this sense, the agency to express solidarity or oppo-
activities including institution led participatory arts programmes like those at
sition with the other, is signicantly dierent to the relentless mass organisation
IMMA or indeed temporary public art programmes unded by percent or the
o our lives into stratied data banks, market segments, audiences, biometrics,
arts schemes. As Sholette observes:
google accounts and biological samples, what Deleuze calls the administered orms o collective control.
cultural tourism and community-based art practice must be thought
Judging work, be it dialogical, relational or collaborative on a scale rom
o as a local consequence o the move towards a privatized and global
solidarity to service asks o the reader to reect on the social dimension o par-
economy […] the remnants o public, civic culture aim to make art
ticipation and the material dimension o social practice rom aesthetic/politi-
appear useul to the voting population as a orm o social service
cal perspectives. The uture that is mapped out in phrases like the ‘knowledge
and tourism.21
economy’, ‘virtual communities’ and ‘cultural industries’ is a uture that threatens solidarity through corporate control. I hope artists, students, and audiences at IMMA remain alive to dealing with these complex orces and engage with
Collaborative/ Collective Art Projects
what Williams generously believed art could be: a struggle at the roots o mind
Solidarity implies a dierent kind o economic relationship, something more
to gure out an embodied sense o creative engagement with sel-composition
reciprocal and committed than nancially dependent. Collaborative groups
and social composition.26
are the nal approach that I wish to consider in this discussion on participation and the work they make “can raise complex questions about participation among artists - not just issues o process (Group Material and Tim Rollins
1
Raymond Williams, Keywords, London: Fontana, 1988.
20
Nicolas Bourriaud, ‘Public Relations’, Interview with Bennett Simpson, Artorum , April 2001.
2
Virginia Nightingale, Studying Audiences: The Shock o the New , London: Routledge, 1996, p. 14.
21
Gregory Sholette, 2001.
Homi Bhabha, ‘Conversational Art’ in Mary Jane Jacob and Michael Brenson (eds.),
22
Conversations at the Castle: Changing Audiences and Contemporary Art ,
Robert Atkins, ‘Politics, Participation, and Meaning in the Age o Mass Media’, in Rudol Frieling (ed.), The Art o Participation: 1950 to Now , pp. 50-66, London:
Cambridge, Mass and London: MIT Press, 1998, pp. 38-47.
Thames and Hudson, 2008, p. 58.
3
4
Homi Bhabha, The Location o Culture , London: Routledge, 1994.
5
Partha Chatterjee cited in Homi Bhabha, 1994, p. 230.
6
Grant Kester, Conversation Pieces , Caliornia: University o Caliornia Press, 2004, p. 150.
7
For this broad discussion see Homi Bhabha, 1994; Jean-Luc Nancy,The Inoperative Community , Trans. Peter Connor, Minneapolis: University o Minnesota Press, 1991
23
See Gregory Sholette, 2001; Suzi Gablik, ‘Connective Aesthetics: Art Ater Individualism’, in Suzanne Lacy (ed.), Mapping the New Terrain: New Genre Public Art , Seattle: Bay Press, 1995, pp. 74-87; Nato Thompson and Gregory Sholette, (eds.), The Interventionists: Users’ Manual or the Creative Disruption o Everyday Lie ,
8
16
Cambridge Mass and London: MIT Press, 2004 and Blake Stimson and Gregory Sholette (eds.), 2007. 24
Giorgio Agamben, What is an Apparatus? Caliornia: Stanord University Press 2009, p. 10.
and Chantal Pontbriand, ‘Jean-Luc Nancy / Chantal Pontbriand: an exchange’, Parachute Contemporary Art Magazine , October 01, 2000, pp. 14-30.
25
Jürgen Habermas quoted in Peter Dews (ed.), Habermas Autonomy and Solidarity , London: Verso, 1992, p. 38.
Mary Douglas, Purity and Danger: An Analysis o Concepts o Pollution and Taboo , London: Routledge, 1991, p. 303.
26
Raymond Williams, Marxism and Literature , Oxord: Oxord University Press, 1977, pp. 206-212.
17
9
Grant Kester, 2004, p. 10.
10
Ibid, p. 90.
11
Ibid, p. 90.
12
Grant Kester, ‘Dialogical Aesthetics: A Critical Framework or Littoral Art’
a graduate of NCAD, The Slade School of Art and DIT. Hand has lived and
in Variant 9 , 1999.
shown his work in Dublin, London, New York and Scotland. He is a former
13
Grant Kester, 2004, p. 171.
14
Gregory Sholette, ‘Some Call it Art: From Imaginary Autonomy to Autonomous Collectivity’, www.gregorysholette.com/writings/writingpds/06_somecallit. pd, 2001.
Brian Hand
Brian Hand is an artist and lecturer based in Carlow and Wexford. He is
member of the art collectives Blue Funk and 147, and participated with the group Repohistory in their nal show in 2000. Over the years he has been commissioned by a number of artists to write essays on their work including Anne Tallentire, the late Noel Sheridan, Daphne Wright, Shirley MacWilliam, Colin Darke, Anne Bevan, Sean O Flaithearta, Dennis McNulty,
15
See Claire Bishop, ‘Antagonism and Relational Aesthetics’, in October , 110, 2004, pp. 51-80; Claire Bishop, Installation: A Critical History , London: Tate Publishing, 2005; Hal Foster, ‘Arty Party’, in London Review o Books , 25:23, 4, 2003 and Stewart Martin, ‘Critique o Relational Aesthetics’, Third Text , 21(4), 2007, pp. 369-386.
16
Nicolas Bourriaud, Relational Aesthetics, Dijon: Les Presses Du Réel, 2002, p. 42.
17
Ibid, p. 16.
18
Liam Gillick cited in Claire Bishop, 2004, p. 61.
19
Theodor Adorno quoted in Rubén Gallo, ‘The Mexican Pentagon Adventures in Collectivism during the 1970s’, in Blake Stimson, and Greg Sholette (eds.), Collectivism Ater Modernism, pp. 165-193, Minneapolis and London: University
and Dorothy Cross. In 1999 Hand was awarded an Arts Council Bursary in Critical Writing and contributed a series of essays to CIRCA on the discourses relating to the study of audiences. In 2003 he was curator of the arts council’s ‘critical voices’, an interdisciplinary programme aimed at facilitating critical and creative exchanges, introductions and conversations in the arts. Hand has worked in third level education for many years and established a new undergraduate art degree for I.T. Carlow in Wexford. He was course director of the programme from 2003-2010. His most recent solo exhibition/project was ‘Little War’, a site specic
o Minnesota Press, 2007, p. 170.
installation in the grounds of Kilkenny Castle during the arts festival in 2008.
1
Raymond Williams, Keywords, London: Fontana, 1988.
20
Nicolas Bourriaud, ‘Public Relations’, Interview with Bennett Simpson, Artorum , April 2001.
2
Virginia Nightingale, Studying Audiences: The Shock o the New , London: Routledge, 1996, p. 14.
21
Gregory Sholette, 2001.
Homi Bhabha, ‘Conversational Art’ in Mary Jane Jacob and Michael Brenson (eds.),
22
Conversations at the Castle: Changing Audiences and Contemporary Art ,
Robert Atkins, ‘Politics, Participation, and Meaning in the Age o Mass Media’, in Rudol Frieling (ed.), The Art o Participation: 1950 to Now , pp. 50-66, London:
Cambridge, Mass and London: MIT Press, 1998, pp. 38-47.
Thames and Hudson, 2008, p. 58.
3
4
Homi Bhabha, The Location o Culture , London: Routledge, 1994.
23
See Gregory Sholette, 2001; Suzi Gablik, ‘Connective Aesthetics: Art Ater
5
Partha Chatterjee cited in Homi Bhabha, 1994, p. 230.
6
Grant Kester, Conversation Pieces , Caliornia: University o Caliornia Press,
Cambridge Mass and London: MIT Press, 2004 and Blake Stimson and Gregory
2004, p. 150.
Sholette (eds.), 2007.
Individualism’, in Suzanne Lacy (ed.), Mapping the New Terrain: New Genre Public Art , Seattle: Bay Press, 1995, pp. 74-87; Nato Thompson and Gregory Sholette, (eds.), The Interventionists: Users’ Manual or the Creative Disruption o Everyday Lie ,
7
8
16
For this broad discussion see Homi Bhabha, 1994; Jean-Luc Nancy,The Inoperative Community , Trans. Peter Connor, Minneapolis: University o Minnesota Press, 1991
24
Giorgio Agamben, What is an Apparatus? Caliornia: Stanord University Press 2009, p. 10.
and Chantal Pontbriand, ‘Jean-Luc Nancy / Chantal Pontbriand: an exchange’, Parachute Contemporary Art Magazine , October 01, 2000, pp. 14-30.
25
Jürgen Habermas quoted in Peter Dews (ed.), Habermas Autonomy and Solidarity , London: Verso, 1992, p. 38.
Mary Douglas, Purity and Danger: An Analysis o Concepts o Pollution and Taboo , London: Routledge, 1991, p. 303.
26
Raymond Williams, Marxism and Literature , Oxord: Oxord University Press, 1977, pp. 206-212.
17
9
Grant Kester, 2004, p. 10.
10
Ibid, p. 90.
11
Ibid, p. 90.
12
Grant Kester, ‘Dialogical Aesthetics: A Critical Framework or Littoral Art’
a graduate of NCAD, The Slade School of Art and DIT. Hand has lived and
in Variant 9 , 1999.
shown his work in Dublin, London, New York and Scotland. He is a former
Brian Hand
Brian Hand is an artist and lecturer based in Carlow and Wexford. He is
member of the art collectives Blue Funk and 147, and participated with
13
Grant Kester, 2004, p. 171.
14
Gregory Sholette, ‘Some Call it Art: From Imaginary Autonomy to Autonomous
been commissioned by a number of artists to write essays on their work
Collectivity’, www.gregorysholette.com/writings/writingpds/06_somecallit. pd, 2001.
including Anne Tallentire, the late Noel Sheridan, Daphne Wright, Shirley
the group Repohistory in their nal show in 2000. Over the years he has
MacWilliam, Colin Darke, Anne Bevan, Sean O Flaithearta, Dennis McNulty, 15
See Claire Bishop, ‘Antagonism and Relational Aesthetics’, in October , 110, 2004,
and Dorothy Cross. In 1999 Hand was awarded an Arts Council Bursary in
pp. 51-80; Claire Bishop, Installation: A Critical History , London: Tate Publishing, 2005; Hal Foster, ‘Arty Party’, in London Review o Books , 25:23, 4, 2003 and Stewart Martin, ‘Critique o Relational Aesthetics’, Third Text , 21(4), 2007, pp. 369-386. 16
Nicolas Bourriaud, Relational Aesthetics, Dijon: Les Presses Du Réel, 2002, p. 42.
17
Ibid, p. 16.
18
Liam Gillick cited in Claire Bishop, 2004, p. 61.
19
Theodor Adorno quoted in Rubén Gallo, ‘The Mexican Pentagon Adventures in Collectivism during the 1970s’, in Blake Stimson, and Greg Sholette (eds.), Collectivism Ater Modernism, pp. 165-193, Minneapolis and London: University
Critical Writing and contributed a series of essays to CIRCA on the discourses relating to the study of audiences. In 2003 he was curator of the arts council’s ‘critical voices’, an interdisciplinary programme aimed at facilitating critical and creative exchanges, introductions and conversations in the arts. Hand has worked in third level education for many years and established a new undergraduate art degree for I.T. Carlow in Wexford. He was course director of the programme from 2003-2010. His most recent solo exhibition/project was ‘Little War’, a site specic installation in the grounds of Kilkenny Castle during the arts festival in 2008.
o Minnesota Press, 2007, p. 170.
Participatory and Relational Art: Bibliography and Further Reading
Robert Atkins, ‘Politics, Participation, and Meaning in the Age o Mass Media’, in Rudol Frieling (ed.), The Art o Participation 1950 to Now , San Francisco: San Francisco Museum o Modern Art in association with Thames and Hudson, 2008, p. 64. Deborah Barndt (ed.), Wild Fire: Art as Activism, Toronto: Sumach Press, 2006.
Participatory and Relational Art: Glossary
Ciaran Benson (ed.), Art and the Ordinary – The ACE Report , Dublin: ACE Committee, 1989. Homi K. Bhabha, The Location o Culture, London: Routledge, 1994. Johanna Billing, Maria Lind, and Lars Nilss on (eds.), Taking the Matter into Common Hands: Contemporary Art and Collaborative Practices, London: Black Dog Publishing, 20 07.
ACTIVIST ART
COMMuNITY ARTS
DIALOGICAL AESTHETICS
Art which employs collective action in the public domain, such as demonstra-
A orm o Participatory Arts practice where emphasis is placed on the potential
An umbrella term used to describe socially-engaged arts practice where the
tions, protests, banners,
o art to bring about social
emphasis is placed on dia-
signs and leaet distribution, inormed by political and social injustice.
change. Oten involving collaboration between artists and specic communities or sel-generated by communities where participants
logue and communication rather than the production o an art object.
A term coined by French curator Nicolas Bourriaud to describe arts practice
are involved in all aspects o the art making process.
Electronic data storage and transmission technology that enables immense
in the twenty-rst century which is concerned with
CONCEpTuAL ART Originating in the 1960s,
amounts o inormation to be compressed on
globalised culture and communication and which is realised through social and
Conceptual Art emphasises the idea or concept rather than the production o
small storage devices, such as computers and telephones, that can easily
technological networks.
a tangible art object. The
be preserved, retrieved and transported.
ART MuSEuM A venue or the collection, preservation, study, inter-
ideas and methodologies o Conceptual Art continue to inorm Contemporary Art practice.
ALTERMODERN Claire Bishop (ed.), Participation, Cambridge, MA: The MIT Press, 2006. Nicolas Bourriaud, RelationalAesthetics, Dijon: Les Presses du Réel, 1998. Nicolas Bourriaud, Altermodern, New York: Tate Publishing, 2009. William Cleveland, Art and Upheaval: Artists on the World’s Frontlines, Oakland, CA: New Village Press, 2008. Claire Doherty (ed.), Contemporary Art: From Studio to Situation, London: Black Dog Publishing, 2004. Charles Esche and Will Bradley (eds.), Art and Social Change: A Critical Reader , London: Tate Publishing, 2008. Nina Felshin (ed.), But Is It Art?: The Spirit o Art as Activism, Seattle, WA: Bay Press, 1995. Tom Finkelpearl, Dialogues in Public Art , Cambridge, MA: MIT Press, 2000. Sandy Fitzgerald (ed.), An Outburst o Frankness: Community Arts in Ireland: A Reader , Dublin: tasc at New Island, 2004.
18
Paulo Freire, Pedagogy o the Oppressed , New York: Continuum, 2000. Rudol Frieling (ed.), The Art o Participation: 1950 to Now , San Francisco: San Francisco Museum o Modern Art in association with Thames & Hudson, 2008. Linda Frye Burnham and S teven Durland (eds.), The Citizen Artist: 20 Years o Art in the Public Arena, An Anthology rom High Perormance Magazine 1978-1998, Gardiner, NY: Critical Press, 1998. Alred Gell, Art and Agency: An Anthropological Theory , Oxord: Clarendon Press, 1998. Charlie Gere and Michael Corris, Non-relational Aesthetics, (Transmission: the Rule o Engagement), London: Artwords Press, 2008. Jürgen Habermas, The Theory o Communicative Action, Volumes 1&2, Trans. Thomas McCarthy, Boston: The Beacon Press, 1984.
19
pretation and display o
Georey Hendricks (ed.), Critical Mass: Happenings, Fluxus, Perormance, Intermedia, and Rutgers University, 1958-1972 , Rutgers University Press, 2003. Grant Kester, Conversation Pieces: Community and Communication in Modern Art , Berkeley, CA and London University o Caliornia Press, 2004. Miwon Kwon, One Place Ater Another: Site-specifc Art and Locational Identity , Cambridge, MA and London: MIT Press, 2002. Markus Miessen and Shumon Basar (eds.), Did Someone Say Participate? – An Atlas o Spatial Practice, Cambridge, MA: MIT Press, 2006. Chantal Moue (ed.), Dimensions o Radical Democracy: Pluralism, Citizenship, Community , London: Verso, 1992. Ailbhe Murphy et al (eds.), Unspoken Truths, Irish Museum o Modern Art, 1996. Frank Popper, Art, Action and Participation, London: Studio Vista, 1975. Jacques Rancière, The Emancipated Spectator , London: Verso, 2009. Blake Stimson and Gregory Sholette (eds.), Collectivism ater Modernism: The Art o Social Imagination ater 1945 , Minneapolis: University o Minnesota Press, 2007. Michael Warner, Publics and Counterpublics, New York: Zone Books, 2002.
DOCuMENTATION The process o making records with the use o
signicant cultural objects and artworks.
CONSTRuCTIVISM An abstract art movement
Photography, Film, Video, Audio or Text, in particular
AVANT-GARDE French or advance guard
ounded by Vladimir Tatlin and Alexander Rodchenko in Russia around 1915, which
to record temporary or ephemeral orms o arts practice such as Peror-
or ‘vanguard’, a military term to describe an advance army group. The
embraced developments in modern technology and industrialisation.
mance and Installation.
term is used to describe
FEMINISM A social, political, intel-
innovative, experimental or cutting edge artists
CRITICAL THEORY A range o theories, drawn
lectual and philosophical movement advocating
and practitioners.
mainly rom the social sciences and humanities, and associated with the
equal rights and representation or women in all aspects o society.
Maurice Halbwachs, On Collective Memory , Trans. Lewis A. Coser, Chicago: University o Chicago Press, 1992. Michael Hardt and Antonio Negri, Empire, Cambridge, MA: Harvard University Press, 2000.
DIGITAL TECHNOLOGY
COLLABORATION/ COLLABORATIVE ART A orm o arts practice where two or more artists, oten rom dierent disciplines, collaborate in the
Frankurt School, which adopt a critical approach to understanding society and culture.
creation o an artwork.
DADA An Avant-Garde, anti-estab-
artists, writers, lmmakers and musicians creating
COMMODITY A product or article o trade which is marketed or a
lishment art movement ounded in 1916 which used abstraction, nonsense texts
experimental, Multi-media work in Film, Video and Perormance, inormed by
commercial exchange o equal value. The inuence o the art market on the
and absurd perormances to protest against the social and political conditions
social and political activism.
nature, production and
prevailing in Europe during
distribution o art is oten reerred to in terms o
World War I. Associated with the work o Tristan
commodication.
Tzara, Hans Arp and Marcel Duchamp.
FLuXuS An international, avantgarde, art movement in the 1960s which included
Participatory and Relational Art: Bibliography and Further Reading
Robert Atkins, ‘Politics, Participation, and Meaning in the Age o Mass Media’, in Rudol Frieling (ed.), The Art o Participation 1950 to Now , San Francisco: San Francisco Museum o Modern Art in association with Thames and Hudson, 2008, p. 64. Deborah Barndt (ed.), Wild Fire: Art as Activism, Toronto: Sumach Press, 2006.
Participatory and Relational Art: Glossary
Ciaran Benson (ed.), Art and the Ordinary – The ACE Report , Dublin: ACE Committee, 1989. Homi K. Bhabha, The Location o Culture, London: Routledge, 1994. Johanna Billing, Maria Lind, and Lars Nilss on (eds.), Taking the Matter into Common Hands: Contemporary Art and Collaborative Practices, London: Black Dog Publishing, 20 07.
ACTIVIST ART
COMMuNITY ARTS
DIALOGICAL AESTHETICS
Art which employs collective action in the public domain, such as demonstrations, protests, banners,
A orm o Participatory Arts practice where emphasis is placed on the potential o art to bring about social
An umbrella term used to describe socially-engaged arts practice where the emphasis is placed on dia-
signs and leaet distribution, inormed by political and social injustice.
change. Oten involving collaboration between artists and specic communities or sel-generated by communities where participants
logue and communication rather than the production o an art object.
A term coined by French curator Nicolas Bourriaud to describe arts practice in the twenty-rst century
are involved in all aspects o the art making process. CONCEpTuAL ART
Electronic data storage and transmission technology that enables immense amounts o inormation
which is concerned with
Originating in the 1960s,
to be compressed on
globalised culture and communication and which is realised through social and
Conceptual Art emphasises the idea or concept rather than the production o
small storage devices, such as computers and telephones, that can easily
technological networks.
a tangible art object. The
be preserved, retrieved and transported.
ART MuSEuM A venue or the collection, preservation, study, inter-
ideas and methodologies o Conceptual Art continue to inorm Contemporary Art practice.
ALTERMODERN Claire Bishop (ed.), Participation, Cambridge, MA: The MIT Press, 2006. Nicolas Bourriaud, RelationalAesthetics, Dijon: Les Presses du Réel, 1998. Nicolas Bourriaud, Altermodern, New York: Tate Publishing, 2009. William Cleveland, Art and Upheaval: Artists on the World’s Frontlines, Oakland, CA: New Village Press, 2008. Claire Doherty (ed.), Contemporary Art: From Studio to Situation, London: Black Dog Publishing, 2004. Charles Esche and Will Bradley (eds.), Art and Social Change: A Critical Reader , London: Tate Publishing, 2008. Nina Felshin (ed.), But Is It Art?: The Spirit o Art as Activism, Seattle, WA: Bay Press, 1995. Tom Finkelpearl, Dialogues in Public Art , Cambridge, MA: MIT Press, 2000. Sandy Fitzgerald (ed.), An Outburst o Frankness: Community Arts in Ireland: A Reader , Dublin: tasc at New Island, 2004.
18
Paulo Freire, Pedagogy o the Oppressed , New York: Continuum, 2000. Rudol Frieling (ed.), The Art o Participation: 1950 to Now , San Francisco: San Francisco Museum o Modern Art in association with Thames & Hudson, 2008.
19
Linda Frye Burnham and S teven Durland (eds.), The Citizen Artist: 20 Years o Art in the Public Arena, An Anthology rom High Perormance Magazine 1978-1998, Gardiner, NY: Critical Press, 1998. Alred Gell, Art and Agency: An Anthropological Theory , Oxord: Clarendon Press, 1998. Charlie Gere and Michael Corris, Non-relational Aesthetics, (Transmission: the Rule o Engagement), London: Artwords Press, 2008.
pretation and display o
records with the use o CONSTRuCTIVISM An abstract art movement
Photography, Film, Video, Audio or Text, in particular
AVANT-GARDE French or advance guard
ounded by Vladimir Tatlin and Alexander Rodchenko in Russia around 1915, which
to record temporary or ephemeral orms o arts practice such as Peror-
or ‘vanguard’, a military term to describe an advance army group. The
embraced developments in modern technology and industrialisation.
mance and Installation.
innovative, experimental or cutting edge artists and practitioners.
Maurice Halbwachs, On Collective Memory , Trans. Lewis A. Coser, Chicago: University o Chicago Press, 1992.
COLLABORATION/
Michael Hardt and Antonio Negri, Empire, Cambridge, MA: Harvard University Press, 2000. Georey Hendricks (ed.), Critical Mass: Happenings, Fluxus, Perormance, Intermedia, and Rutgers University, 1958-1972 , Rutgers University Press, 2003. Grant Kester, Conversation Pieces: Community and Communication in Modern Art , Berkeley, CA and London University o Caliornia Press, 2004. Miwon Kwon, One Place Ater Another: Site-specifc Art and Locational Identity , Cambridge, MA and London: MIT Press, 2002. Markus Miessen and Shumon Basar (eds.), Did Someone Say Participate? – An Atlas o Spatial Practice, Cambridge, MA: MIT Press, 2006. Chantal Moue (ed.), Dimensions o Radical Democracy: Pluralism, Citizenship, Community , London: Verso, 1992. Ailbhe Murphy et al (eds.), Unspoken Truths, Irish Museum o Modern Art, 1996. Frank Popper, Art, Action and Participation, London: Studio Vista, 1975. Jacques Rancière, The Emancipated Spectator , London: Verso, 2009.
DOCuMENTATION The process o making
signicant cultural objects and artworks.
term is used to describe
Jürgen Habermas, The Theory o Communicative Action, Volumes 1&2, Trans. Thomas McCarthy, Boston: The Beacon Press, 1984.
DIGITAL TECHNOLOGY
FEMINISM A social, political, intel-
CRITICAL THEORY A range o theories, drawn mainly rom the social
lectual and philosophical movement advocating equal rights and repre-
sciences and humanities, and associated with the
sentation or women in all aspects o society.
COLLABORATIVE ART A orm o arts practice where two or more artists, oten rom dierent disciplines, collaborate in the
Frankurt School, which adopt a critical approach to understanding society and culture.
creation o an artwork.
DADA An Avant-Garde, anti-estab-
artists, writers, lmmakers and musicians creating
COMMODITY A product or article o trade which is marketed or a
lishment art movement ounded in 1916 which used abstraction, nonsense texts
experimental, Multi-media work in Film, Video and Perormance, inormed by
commercial exchange o equal value. The inuence o the art market on the nature, production and
and absurd perormances to protest against the social and political conditions prevailing in Europe during
social and political activism.
distribution o art is oten reerred to in terms o commodication.
World War I. Associated with the work o Tristan Tzara, Hans Arp and Marcel Duchamp.
Blake Stimson and Gregory Sholette (eds.), Collectivism ater Modernism: The Art o Social Imagination ater 1945 , Minneapolis: University o Minnesota Press, 2007.
FLuXuS An international, avantgarde, art movement in the 1960s which included
Michael Warner, Publics and Counterpublics, New York: Zone Books, 2002.
20
GALLERY An internal space or series
MEDIA In general usage, media
NEW GENRE puBLIC ART A term coined by American
pOSTMODERNISM A social, cultural and
SCuLpTuRE A three-dimensional art
SuRREALISM An avant garde, literary
o spaces dedicated to the exhibition o artworks.
reers to orms o communication, such as newspapers,
artist Suzanne Lacy to describe a orm o socially-
intellectual movement characterised by a rejection
object which is either created or constructed
and visual art movement ounded in 1924 by André
HAppENINGS A term which rst emerged
magazines, television, radio and the Internet. In the arts, media, the plural
engaged Public Art practice which emphasises collectivity and engagement with
o notions o linear progression, grand totalising narratives and critical consensus
by an artist. Includes constructions, assemblages, installations, sound, new
Breton and inuenced by Dada, psychoanalysis and Sigmund Freud’s theories
in the 1950s to describe time-basedperormances, events or situations
o medium, reers to the materials, methodologies, mechanisms, technologies
the audience and the blurring o media boundaries.
associated with Modernism. Characterised by an interdisciplinary approach, mul-
media, etc.
o the unconscious.
SITuATIONISM
TEXT BASED
which rely on artistic chance and improvisation
or devices by which an artwork is realised. Traditional
pARTICIpATORY ART An arts practice which
tiple narratives, ragmentation, relativity, contingency
An open-ended term used to describe an event which
Artwork created using written or printed words as
to provoke interaction
media include painting,
places emphasis on the
and irony.
is time-based and condi-
the material and/or subject
rom the audience.
input and active reception o the audience or the physical or conceptual
pSYCHOANALYSIS A theoretical paradigm
tioned by a site or set o circumstances; commonly associated with the political
matter.
INSTALLATION
sculpture and drawing and the specic materials used, such as paint, charcoal or
A broad term applied to a range o arts practice which
marble, can also be reerred to as media. In Contempo-
realisation o the work.
or understanding human behaviour, and a orm o
actions o the artist collective Situationist Interna-
Artwork created using a video recording device.
involves the installation or conguration o objects in a space, where the totality o
rary Arts practice artists use a wide range o media, such as technology, ound materi-
pERFORMANCE ART Involves an artist undertaking an action or actions
intensive psychotherapeutic treatment in which ree association, dream interpre-
tional. SOCIALLY ENGAGED ART
Video Art emerged as an art orm in the 1960s and 1970s due to the develop-
the objects and the space comprise the artwork.
als, the body, sound, etc.
where the artist’s body is the medium. Perormance
tation and consideration o resistance and transer-
Arts practice which is inormed by a social agenda
ment o new technology, and it is a prevalent
MINIMALISM An abstract art movement developed in the US in the
art evolved in the late 1950s and is closely associated with Video Art as this
ence are used to resolve psychological problems. Developed by Sigmund
and created and realised through engagement, collaboration and/or participa-
medium in Contemporary Art practice.
was the primary means o recording this ephemeral art orm. pHOTOGRApHY
Freud in the late nineteenth century, there are many strands o psychoanalytic theory, including Object Relations Theory and Laca-
tion between an artist or artists and a specic social constituency, such as a youth group.
INTERNET
1960s which emphasised the use o simple, geometric orms and modern materials drawn rom industry. It was an extension o
A globalised system o
abstraction, ocusing on the
The process o recording an
nian psychoanalysis.
SOCIAL SCuLpTuRE
computer networks linked by copper wire, bre-optic cables and wireless con-
properties o the materials used but also a rejection o the ideology and discourse
image – a photograph, on light-sensitive lm or, in the case o digital photography,
RELATIONAL AESTHETICS Term coined by the French
Reers to a concept developed by German artist Joseph Beuys which
nections, which provides services, resources and inormation, such as the hypertext o the World Wide Web, electronic mail,
o Abstract Expressionism.
via a digital electronic or magnetic memory.
MODERNISM Reers to art theory and practice rom the 1860s
pOSTCOLONIAL THEORY An intellectual discourse o
curator Nicholas Bourriaud to describe a set o art practices which place an emphasis on the social context in which the work is
describes art as a orm o human activity in the transormation o politics and society, encompassing the amous declaration that
le sharing, online gaming and social networking sites.
to the late 1960s and is dened in terms o a linear progression o styles, periods and schools, such as Impressionism, Cubism and
the late twentieth century drawing on theories rom literature, lm, philosophy and social and political science, concerned with the
created and/or presented, and on the role o the artist as acilitator, where art is inormation exchanged between the artist and
‘everyone is an artist’.
the reception o literature and text and how the reader may receive and negotiate its meaning
Abstract Expressionism.
cultural legacy o colonialism in terms o national and cultural identity, race and ethnicity.
viewer. He calls examples o this practice Relational Art. puBLIC ART
listening and hearing, oten involving an interdisciplinary approach. Sound Art encompassesacoustics,
based on his/her cultural background and personal
limited edition o artworks produced in multiples,
Artwork located outside a museum or gallery, usually
electronics, audio media and technology, the body,
experience.
incorporatingindustrial methods o printmaking or sculpture while maintaining
sited in a public space and supported by public unding.
ambient sound, etc.
INTERDISCIpLINARY The combining o two or more artorm specialisms, such as music, visual arts or dance.
LITERARY THEORY Reers to ideas concerning
MuLTIpLES A term used to describe a
technical variations.
21
SOuND ART A orm o art practice concerned with sound,
VIDEO ART
20
GALLERY An internal space or series
MEDIA In general usage, media
NEW GENRE puBLIC ART A term coined by American
pOSTMODERNISM A social, cultural and
SCuLpTuRE A three-dimensional art
SuRREALISM An avant garde, literary
o spaces dedicated to the exhibition o artworks.
reers to orms o communication, such as newspapers, magazines, television,
artist Suzanne Lacy to describe a orm o sociallyengaged Public Art practice
intellectual movement characterised by a rejection o notions o linear progres-
object which is either created or constructed by an artist. Includes con-
and visual art movement ounded in 1924 by André Breton and inuenced by
HAppENINGS A term which rst emerged
radio and the Internet. In the arts, media, the plural
which emphasises collectivity and engagement with
sion, grand totalising narratives and critical consensus
structions, assemblages, installations, sound, new
Dada, psychoanalysis and Sigmund Freud’s theories
in the 1950s to describe time-basedperormances, events or situations
o medium, reers to the materials, methodologies, mechanisms, technologies
the audience and the blurring o media boundaries.
associated with Modernism. Characterised by an interdisciplinary approach, mul-
media, etc.
o the unconscious.
SITuATIONISM
TEXT BASED
which rely on artistic chance and improvisation
or devices by which an artwork is realised. Traditional
pARTICIpATORY ART An arts practice which
tiple narratives, ragmentation, relativity, contingency
An open-ended term used to describe an event which
Artwork created using written or printed words as
to provoke interaction rom the audience.
media include painting, sculpture and drawing and
places emphasis on the input and active recep-
and irony.
is time-based and conditioned by a site or set o
the material and/or subject matter.
INSTALLATION
the specic materials used, such as paint, charcoal or
tion o the audience or the physical or conceptual
pSYCHOANALYSIS A theoretical paradigm
circumstances; commonly associated with the political
VIDEO ART
A broad term applied to a range o arts practice which
marble, can also be reerred to as media. In Contempo-
realisation o the work.
or understanding human behaviour, and a orm o
actions o the artist collective Situationist Interna-
Artwork created using a video recording device.
involves the installation or conguration o objects in a space, where the totality o
rary Arts practice artists use a wide range o media, such as technology, ound materi-
pERFORMANCE ART Involves an artist undertaking an action or actions
intensive psychotherapeutic treatment in which ree association, dream interpre-
tional. SOCIALLY ENGAGED ART
Video Art emerged as an art orm in the 1960s and 1970s due to the develop-
the objects and the space comprise the artwork.
als, the body, sound, etc.
where the artist’s body is the medium. Perormance
tation and consideration o resistance and transer-
Arts practice which is inormed by a social agenda
ment o new technology, and it is a prevalent
MINIMALISM An abstract art movement developed in the US in the
art evolved in the late 1950s and is closely associated with Video Art as this
ence are used to resolve psychological problems. Developed by Sigmund
and created and realised through engagement, collaboration and/or participa-
medium in Contemporary Art practice.
was the primary means o recording this ephemeral art orm. pHOTOGRApHY
Freud in the late nineteenth century, there are many strands o psychoanalytic theory, including Object Relations Theory and Laca-
tion between an artist or artists and a specic social constituency, such as a youth group.
INTERNET
1960s which emphasised the use o simple, geometric orms and modern materials drawn rom industry. It was an extension o
A globalised system o
abstraction, ocusing on the
The process o recording an
nian psychoanalysis.
SOCIAL SCuLpTuRE
computer networks linked by copper wire, bre-optic cables and wireless con-
properties o the materials used but also a rejection o the ideology and discourse
image – a photograph, on light-sensitive lm or, in the case o digital photography,
RELATIONAL AESTHETICS Term coined by the French
Reers to a concept developed by German artist Joseph Beuys which
nections, which provides
o Abstract Expressionism.
via a digital electronic or
curator Nicholas Bourriaud
describes art as a orm
magnetic memory.
o human activity in the transormation o politics and society, encompassing the amous declaration that
INTERDISCIpLINARY The combining o two or more artorm specialisms, such as music, visual arts or dance.
services, resources and inormation, such as the hypertext o the World Wide Web, electronic mail,
21
MODERNISM Reers to art theory and practice rom the 1860s
pOSTCOLONIAL THEORY An intellectual discourse o
to describe a set o art practices which place an emphasis on the social context in which the work is
to the late 1960s and is dened in terms o a linear progression o styles, periods and schools, such as Impressionism, Cubism and
the late twentieth century drawing on theories rom literature, lm, philosophy and social and political science, concerned with the
created and/or presented, and on the role o the artist as acilitator, where art is inormation exchanged between the artist and
‘everyone is an artist’.
the reception o literature and text and how the reader may receive and negotiate its meaning
Abstract Expressionism.
cultural legacy o colonialism in terms o national and cultural identity, race and ethnicity.
viewer. He calls examples o this practice Relational Art.
listening and hearing, oten involving an interdisciplinary approach. Sound Art encompassesacoustics,
based on his/her cultural background and personal experience.
limited edition o artworks produced in multiples, incorporatingindustrial methods o printmaking or sculpture while maintaining
le sharing, online gaming and social networking sites. LITERARY THEORY Reers to ideas concerning
MuLTIpLES A term used to describe a
puBLIC ART
SOuND ART A orm o art practice concerned with sound,
Artwork located outside a museum or gallery, usually sited in a public space and supported by public unding.
electronics, audio media and technology, the body, ambient sound, etc.
Centres Georges pomido, Paris
Msem o Contemorary Art, Los Angeles
www.cnac-gp.r
www.moca.org
Dia Art Fondation , New York www.diacentre.org
Msee d’Orsay , Paris www.musee-orsay.r
technical variations.
Participatory and Relational Art: General Resources
The ollowing is a select list o resources. A more
ub An educational resource
CREATE www.create-ireland.ie
Mins Sace, NewYork www.minusspace.com
detailed list can be ound on IMMA’s website
or Conceptual and Perormance Art
Ca
paer Tiger Television
www.imma.ie
www.ubu.com
www.ca.ie
www.papertiger.org
Inormation Websites
place programme
Cityarts
REpOhistory
www.cityarts.ie
www.repohistory.org
Artcycloedi Internet encyclopedia on
Promotes dialogue between aculty, students and community members that di-
Engage
Reblicart
art and artists. www.intute.ac.uk
rectly engage and address community needs.
www.engage.co.uk
www.republicart.net
www. place.unm.edu/ser-
Fire Station Artists Stdios
RTMark
vice_relational_art.html
www.restation.ie
Organisations
The Artists Database o Modern and Contemporary artists. www.the-artists.org
Drawing Center, New York www.drawingcentre.org
Msem o Contemorary Art, Sydney www.mca.com.au
Gagosian Gallery,
New Msem o Contem-
New York
orary Art, New York
www.rtmark.com
www.gagosian.com
www.newmuseum.org
Frthereld
Temorary Services
Gggenheim Msem,
palais de Tokyo, Paris
www.urthereld.org
www.temporaryservices.org
Bilbao www.guggenheim-bilbao.es
www.palaisdetokyo.com
KCAT Art & Stdy Centre www.kcat.ie
Transorm www.transorm.eipcp.net
Waterord Healing Arts Trst
Sarwasser HQ, Berlin www.sparwasserhq.de
Age and Oortnity
22
Artworld Salon An experimental discussion platorm ocused on issues
www.olderinireland.ie
concerning the globalised art world.
www.artsanddisability.com
www.artworldsalon.com
Arts and Disability Form www.ad.ie
www.waterordhealingarts. com
Arts and Disability Ireland www.adiarts.ie
Visal Artists Ireland www.visualartists.ie
Artangel www.artangel.org.uk
projects, Collaborations and Artist-led Initiatives
Arts & Disability Directory
Axis Online resource or Contemporary Art. www.axisweb.org Collabarts.org An inormation resource or
23
Sothern Exosre, San Francisco soex.org/about.html Stdio Voltaire, London www.studiovoltaire.org
Msem, New York www.guggenheim.org
YYZ Artist Otlet, Toronto www.yyzartistsoutlet.org
Critical Art Ensemble
Msems and Galleries
www.critical-art.net
International Museums and Galleries
The Art o Change
www.publicart.ie
www.arte-ochange.com
STOT Platorm providing online
CAN www.communityarts.net
Cbitt, London www.cubittartists.org
links relating to Contemporary Art.
Common Grond
The International DADA archive
www.stot.org
www.commonground.ie
www.lib.uiowa.edu/dada
Cork Commnity Artlink
The Metroolitan Comlex
www.whati.ie
www.metropolitancomplex. com
SerentineGallery, London www.serpentinegallery.org Solomon R. Gggenheim
Black Adio Film Collective www.blackaudiolmcollective.com
pblic Art
www.saatchi-gallery.co.uk
turali.it/english/museo.htm
Art Sqad www.artsquad.com
Crating degree zero www.curatingdegreezero. org
Saatchi Gallery, London Knst-Werke Institte or Contemorary Art, Berlin www.kw-berlin.de
www.maxxi.parc.benicul-
www.collabarts.org
AREA www.areachicago.org
www.smoma.org
Beijing www.vitamincreativespace. com
16 Beaver, New York www.16beavergroup.org
resources or education and research. www.intute.ac.uk
orary Arts, London www.ica.org.uk
San Francisco Msem o Modern Art,
Maxxi, Rome
Arts Care www.artscare.co.uk
Action Factory www.actionactory.org
ICA - Institte o Contem-
Reina Soa, Madrid www.museoreinasoa.es
Vitamin Creative Sace,
collaborative art practice or artists, theorists and art students.
Intte Online service providing inormation about web
Hayward Gallery, London www.haywardgallery.org.uk
Art Institte o Chicago , www.artic.edu Astralian Centre or Contemorary Art, Victoria www.accaonline.org.au Baltic Centre or Contemorary Art, Gateshead www.balticmill.com
Metroolitan Msem o Art, New York www.metmuseum.org Moderna Mseet, Stockholm www.modernamuseet.se MOMA - Msem o Modern Art, New York www.moma.org Mori Art Msem, Tokyo www.mori.art.museum/eng
Tate Modern, London Tate Britain, London Tate Liverool www.tate.org.uk Whitechael Gallery, London www.whitechapel.org White Cube, London
Msem o Contemorary Art, Chicago
www.whitecube.com
www.mcachicago.org
Whitney Msem o American Art, New York www.whitney.org
Msem o Contemorary Camden Art Centre, London www.camdenartscentre.org
Stedelijk Msem, Amsterdam www.stedelijk.nl
Art Kiasma, Helsinki www.kiasma.
Witte de With, Rotterdam www.wdw.nl
Participatory and Relational Art: General Resources
The ollowing is a select list o resources. A more
ub An educational resource
CREATE www.create-ireland.ie
Mins Sace, NewYork www.minusspace.com
detailed list can be ound on IMMA’s website www.imma.ie
or Conceptual and Perormance Art www.ubu.com
Ca www.ca.ie
paer Tiger Television www.papertiger.org
Inormation Websites
place programme
Cityarts
REpOhistory
Promotes dialogue between aculty, students and community members that di-
www.cityarts.ie
www.repohistory.org
Artcycloedi Internet encyclopedia on
Engage
Reblicart
art and artists. www.intute.ac.uk
rectly engage and address community needs.
www.engage.co.uk
www.republicart.net
The Artists
www. place.unm.edu/service_relational_art.html
Fire Station Artists Stdios www.restation.ie
RTMark www.rtmark.com
Database o Modern and Contemporary artists.
Organisations
Frthereld www.urthereld.org KCAT Art & Stdy Centre www.kcat.ie
Transorm www.transorm.eipcp.net
Waterord Healing Arts Trst
Sarwasser HQ, Berlin www.sparwasserhq.de
www.the-artists.org
22
www.olderinireland.ie
concerning the globalised art world.
www.artsanddisability.com
www.artworldsalon.com
Arts and Disability Form www.ad.ie
www.waterordhealingarts. com
Arts and Disability Ireland www.adiarts.ie
Visal Artists Ireland www.visualartists.ie
Artangel www.artangel.org.uk
projects, Collaborations and Artist-led Initiatives
Axis Online resource or Contemporary Art. www.axisweb.org Collabarts.org
Temorary Services
Gggenheim Msem,
palais de Tokyo, Paris
www.temporaryservices.org
Bilbao www.guggenheim-bilbao.es
www.palaisdetokyo.com
Stdio Voltaire, London www.studiovoltaire.org
www.critical-art.net
International Museums and Galleries
Btler Gallery, Kilkenny www.butlergallery.com Catalyst Arts Gallery, Belast www.catalystarts.org.uk Context Gallery, Derry
Crating degree zero www.curatingdegreezero. org
Art Institte o Chicago , www.artic.edu
Cbitt, London www.cubittartists.org
Astralian Centre or Contemorary Art, Victoria www.accaonline.org.au
Taylor Galleries, Dublin www.taylorgalleries.ie
Jornals and Magazines
Jornal o Visal Cltre www.sagepub.com/journals
Highlanes Gallery,
126, Galway
Drogheda www.highlanes.ie
www.126.ie
Baltic Centre or Contemorary Art, Gateshead www.balticmill.com
Cultural Criticism www.vsw.org/aterimage
Biennials and Art Fairs
Cross Gallery, Dublin
Lewis Glcksman Gallery , Cork www.glucksman.org Limerick City Gallery o Art www.limerickcitygallery.ie Model Arts and Niland Gallery, Sligo www.modelart.ie
www.eva.ie
Sheet www.visualartists.ie
Art Monthly www.artmonthly.co.uk
The International Jornal o Cltral policy www.tand.co.uk/journals/
Art Newsaer
titles
www.theartnewspaper.com Frieze Art Fair, London, UK www.riezeartair.com Istanbl Biennial , Turkey www.iksv.org/bienal11 Liverool Biennial, UK www.biennial.com/ Maniesta www.maniesta.org Moscow Biennale, Russia www.2nd.moscowbien-
www.projectartscentre.ie
nale.ru
RHA The Royal Hibernian
Bienal de São palo , Brazil
Farmleigh Gallery, Dublin www.armleighgallery.ie
Academy, Dublin www.royalhibernianacademy.com
www.bienalsaopaulo.globo. com
Fenton Gallery, Cork
Rbicon Gallery, Dublin
www.artireland.net/systmpl/door
www.rubicongallery.ie
Shanghai Biennale , China www.shanghaibiennale.com
25
Art Review www.artreview.com
Third Text www.tand.co.uk/journals/ titles
Cabinet cltral magazine
The Vacm
www.cabinetmagazine.org
www.thevacuum.org.uk
Circa Art Magazine
Variant
www.recirca.com
www.variant.org.uk
Contemorary www.contemporary-magazines.com Contexts www.create-ireland.ie Critical Inqiry www.criticalinquiry.uchicago.edu E-fx www.e-ux.com/journal
Skltr projekte Münster , Germany www.skulptur-projekte.de
Flash Art www.ashartonline.com
Venice Biennale, Italy www.labiennale.org
Frieze www.rieze.com/magazine
Galway Arts Centre
Mother’s Tankstation, Dublin www.motherstankstation.
www.galwayartscentre.ie
com
www.rieze.com
Green On Red Gallery, Dublin www.greenonredgallery.
pallas Contemorary projects , Dublin www.pallasprojects.org
Jornal o Arts and Commnities www.intellectbooks.co.uk
com
www.springerin.at
Art Form Magazine www.artorum.com
ev+a, Limerick, Ireland
project Arts Centre, Dublin
Temle Bar Gallery & Stdios, Dublin www.templebargallery.com
www.visualartists.ie
The Visal Artists New
www.documenta.da
www.crossgallery.ie
printed project
Sringerin Art and Research www.artandresearch.org.uk
Art Basel, Switzerland www.artbasel.com
www.kevinkavanaghgallery.ie
Msem o Contemorary Art, Chicago www.mcachicago.org Msem o Contemorary
Aterimage Journal o Media Art and
Frieze Art Jornal
Tate Modern, London Tate Britain, London Tate Liverool www.tate.org.uk Whitechael Gallery, London www.whitechapel.org White Cube, London
Hallward Gallery, Dublin www.hallwardgallery.com
Kevin Kavanagh Gallery, Dublin
www.galleryophotography.ie
Mori Art Msem, Tokyo www.mori.art.museum/eng
Art Kiasma, Helsinki www.kiasma.
Germany
Gallery o photograhy, Dublin
MOMA - Msem o Modern Art, New York www.moma.org
Camden Art Centre, London www.camdenartscentre.org
www.kerlin.ie
Dblin City Gallery, The Hugh Lane www.hughlane.ie
www.modernamuseet.se
www.metropolitancomplex. com
Gallery, Cork www.crawordartgallery. com
Draíocht, Dublin www.draiocht.ie
Moderna Mseet, Stockholm
The Metroolitan Comlex
Craword Mnicial Art
www.douglashydegallery. com
Amsterdam www.stedelijk.nl
www.whati.ie
Docmenta, Kassel,
Doglas Hyde Gallery, Dublin
Stedelijk Msem,
www.metmuseum.org
Cork Commnity Artlink
Kerlin Gallery, Dublin
Carrick-on-Shannon www.thedock.ie
o Art, New York
Common Grond www.commonground.ie
www.contextgallery.co.uk
Dock Arts Centre,
Metroolitan Msem
The International DADA archive www.lib.uiowa.edu/dada
IMMA - Irish Msem o Modern Art, Dublin www.imma.ie
SerentineGallery, London www.serpentinegallery.org
Msem, New York www.guggenheim.org
Msems and Galleries
Irish Museums and Galleries
www.saatchi-gallery.co.uk
Solomon R. Gggenheim
Critical Art Ensemble
links relating to Contemporary Art. www.stot.org
Saatchi Gallery, London Knst-Werke Institte or Contemorary Art, Berlin www.kw-berlin.de
turali.it/english/museo.htm
YYZ Artist Otlet, Toronto www.yyzartistsoutlet.org
CAN www.communityarts.net
www.smoma.org
www.maxxi.parc.benicul-
www.blackaudiolmcollective.com
www.arte-ochange.com
orary Arts, London www.ica.org.uk
San Francisco Msem o Modern Art,
Beijing www.vitamincreativespace. com
www.artsquad.com
The Art o Change
ICA - Institte o Contem-
Reina Soa, Madrid www.museoreinasoa.es
Maxxi, Rome
Black Adio Film Collective
www.publicart.ie
Hayward Gallery, London www.haywardgallery.org.uk
Vitamin Creative Sace,
Art Sqad
STOT Platorm providing online
24
Sothern Exosre, San Francisco
www.collabarts.org
pblic Art
www.musee-orsay.r
orary Art, New York www.newmuseum.org
16 Beaver, New York www.16beavergroup.org
AREA www.areachicago.org
Msee d’Orsay , Paris
New York www.diacentre.org
New Msem o Contem-
Arts Care www.artscare.co.uk
resources or education and research. www.intute.ac.uk
Dia Art Fondation ,
New York www.gagosian.com
collaborative art practice or artists, theorists and art students.
Action Factory www.actionactory.org
www.moca.org
Gagosian Gallery,
soex.org/about.html
An inormation resource or
Intte Online service providing inormation about web
www.cnac-gp.r
Msem o Contemorary Art, Sydney www.mca.com.au
Arts & Disability Directory
23
Msem o Contemorary Art, Los Angeles
Drawing Center, New York www.drawingcentre.org
Age and Oortnity Artworld Salon An experimental discussion platorm ocused on issues
Centres Georges pomido, Paris
www.whitecube.com Whitney Msem o American Art, New York www.whitney.org Witte de With, Rotterdam www.wdw.nl
Irish Museums and Galleries Btler Gallery, Kilkenny www.butlergallery.com
Hallward Gallery, Dublin www.hallwardgallery.com
Taylor Galleries, Dublin www.taylorgalleries.ie
Highlanes Gallery, Drogheda
126, Galway www.126.ie
Catalyst Arts Gallery, Belast
www.highlanes.ie
www.catalystarts.org.uk
IMMA - Irish Msem o Modern Art, Dublin www.imma.ie
Context Gallery, Derry
Jornals and Magazines Aterimage Journal o Media Art and Cultural Criticism
printed project www.visualartists.ie
www.vsw.org/aterimage Biennials and Art Fairs
Sringerin Art and Research www.artandresearch.org.uk
Art Basel, Switzerland www.artbasel.com
www.springerin.at The Visal Artists New
www.contextgallery.co.uk Kerlin Gallery, Dublin
Docmenta, Kassel,
Art Form Magazine www.artorum.com
Craword Mnicial Art Gallery, Cork
www.kerlin.ie
Germany www.documenta.da
Art Monthly
The International Jornal
www.crawordartgallery. com
Kevin Kavanagh Gallery, Dublin
www.artmonthly.co.uk
o Cltral policy www.tand.co.uk/journals/
www.kevinkavanaghgallery.ie
Art Newsaer
titles
Cross Gallery, Dublin www.crossgallery.ie Dock Arts Centre, Carrick-on-Shannon www.thedock.ie
24
Jornal o Visal Cltre www.sagepub.com/journals
Doglas Hyde Gallery, Dublin www.douglashydegallery. com Draíocht, Dublin www.draiocht.ie
Lewis Glcksman Gallery , Cork www.glucksman.org Limerick City Gallery o Art www.limerickcitygallery.ie Model Arts and Niland Gallery, Sligo www.modelart.ie
ev+a, Limerick, Ireland www.eva.ie
www.theartnewspaper.com Frieze Art Fair, London, UK www.riezeartair.com Istanbl Biennial , Turkey www.iksv.org/bienal11 Liverool Biennial, UK www.biennial.com/
25
Maniesta www.maniesta.org
Art Review www.artreview.com
Third Text www.tand.co.uk/journals/ titles
Cabinet cltral magazine
The Vacm
www.cabinetmagazine.org
www.thevacuum.org.uk
Circa Art Magazine
Variant
www.recirca.com
www.variant.org.uk
Contemorary www.contemporary-magazines.com
Moscow Biennale, Russia project Arts Centre, Dublin
www.2nd.moscowbien-
www.projectartscentre.ie
nale.ru
RHA The Royal Hibernian
Bienal de São palo , Brazil
Academy, Dublin
www.bienalsaopaulo.globo.
Critical Inqiry
Farmleigh Gallery, Dublin www.armleighgallery.ie
www.royalhibernianacademy.com
com
www.criticalinquiry.uchicago.edu
Fenton Gallery, Cork
Rbicon Gallery, Dublin
www.artireland.net/systmpl/door
www.rubicongallery.ie
Dblin City Gallery, The Hugh Lane www.hughlane.ie
Gallery o photograhy, Dublin www.galleryophotography.ie
Temle Bar Gallery & Stdios, Dublin www.templebargallery.com
Sheet www.visualartists.ie
Contexts www.create-ireland.ie
Shanghai Biennale , China www.shanghaibiennale.com
E-fx www.e-ux.com/journal
Skltr projekte Münster , Germany www.skulptur-projekte.de
Flash Art www.ashartonline.com
Venice Biennale, Italy www.labiennale.org
Frieze www.rieze.com/magazine
Galway Arts Centre
Mother’s Tankstation, Dublin www.motherstankstation.
www.galwayartscentre.ie
com
www.rieze.com
Green On Red Gallery, Dublin www.greenonredgallery.
pallas Contemorary projects , Dublin www.pallasprojects.org
Jornal o Arts and Commnities www.intellectbooks.co.uk
Frieze Art Jornal
com
Acknowledgements Published by the Irish Museum o Modern Art Royal Hospital Kilmainham Dublin 8 Tel: + 353 1 612 9900 Fax: + 353 1 612 9999 Email: in
[email protected] ISBN Nmber ISBN: 978–1-907020–40–7 Text: A struggle at the roots o the mind: service and solidarity in dialogical, relational and collaborative perspectives within contem porary art , Brian Hand
All other texts written and edited by Sophie Byrne and Lisa Moran Editors: Lisa Moran, Curator: Education and Community Programmes Sophie Byrne, Assistant Curator: Talks & Lectures What Is __? Team: Lisa Moran, Curator: Education and Community Programmes Sophie Byrne, Assistant Curator: Talks & Lectures Mark Maguire, Assistant Curator: Education and Community Programmes Research: Paula Barrett
Image sorcing:
Images:
Page 13
Paula Barrett Georgie Thompson, Assistant Curator:
Every eort has been made to acknowledge correct copyright o images where
Shane Cullen, Fragments Sur Les Institutions Republicaines IV, 1993-1997, Text
Collections.
applicable. Any errors or
on 96 Styrooam panels,
Coyright Clearance: Paula Barrett
omissions are unintentional and should be notied to the Irish Museum o Modern Art What Is __? series.
12 blocks o 8 panels, each block 251 x 480 x 6 cm, Collection Irish Museum o Modern Art, Purchase, 2000.
Technical Sort: Mark Grattan, Technician Anne Marie Barry, c/o Still Films
List o illstrations: Page 2 Philippe Parreno, The Boy
Page 26 Antony Gormley,
Design:
rom Mars, 2003, 35 mm transerred to High Deni-
Field or the British Isles, 1993, Terracotta, Dimen-
Red and Grey Design www.redandgreydesign.ie
tion video, Dolby Digital 5.0 stereo with musical score by Devendra Banhart,
sions variable, approx. 40,000 elements, each 8-26 cm tall, Arts Council
print:
Ed 3/4, 11 min 40 sec.,
Collection, Hayward Gallery,
Plus Print www.plusprint.ie
Collection Irish Museum o Modern Art, Purchase, 2007.
London, Purchase, 1996, Installation view, Irish Museum o Modern Art, Dublin, Ireland. © Courtesy
Marguerite O’Molloy,
Page 5
o the Artist.
Assistant Curator: Collections; Georgie Thompson,
Women rom the Family Resource Centre Inchicore
Assistant Curator: Collections; Monica Cullinane, Public Aairs; Seán Kissane,
& Joe Lee, Open Season, 1998, Hospital bed & video projection on hospital
Head o Exhibitions; Christina Kennedy, Head o Collections; Helen O’Donoghue,
screen, Dimensions variable, Collection Irish Museum o Modern Art, Purchase, 1998.
With thanks to:
Head o Education and Community Programmes and Enrique Juncosa, Direc-
Page 9 Tim Rollins & K.O.S.,
tor, IMMA.
The Red Badge o Courage, 1988, Oil on book pages on linen, 61 x 92 cm, Collection
Texts © Irish Museum o Modern Art and Authors 2010 Images © Irish Museum o Modern Art and
Paddy Jolley, Rebecca Trost & Inger Lise Hansen,
All rights reserved. No part o this publication may be reproduced, stored in a
Hereater, 2004, Black and white lm transerred rom 16mm/super 8 to DVD,
retrieval system or transmitted in any orm or by any means, electronic, mechani-
Collection Irish Museum o Modern Art, Purchase, 2005.
ing or otherwise, without the written permission o the Publishers. Antony Gormley, Field for the British Isles, 1993.
Page 10
Artists 2010
cal, photocopying, record-
Image:
Irish Museum o Modern Art, Donation, the artists, 1993.
Acknowledgements
Image sorcing:
Images:
Page 13
Published by the Irish
Paula Barrett Georgie Thompson, Assistant Curator: Collections.
Every eort has been made to acknowledge correct copyright o images where applicable. Any errors or
Shane Cullen, Fragments Sur Les Institutions Republicaines IV, 1993-1997, Text on 96 Styrooam panels,
Coyright Clearance: Paula Barrett
omissions are unintentional and should be notied to the Irish Museum o Modern Art What Is __? series.
12 blocks o 8 panels, each block 251 x 480 x 6 cm, Collection Irish Museum o Modern Art, Purchase, 2000.
Museum o Modern Art Royal Hospital Kilmainham Dublin 8 Tel: + 353 1 612 9900 Fax: + 353 1 612 9999 Email: in
[email protected] ISBN Nmber ISBN: 978–1-907020–40–7 Text: A struggle at the roots o the mind: service and solidarity in dialogical, relational and collaborative perspectives within contem porary art , Brian Hand
All other texts written and edited by Sophie Byrne and Lisa Moran Editors: Lisa Moran, Curator: Education and Community Programmes Sophie Byrne, Assistant Curator: Talks & Lectures What Is __? Team: Lisa Moran, Curator: Education and Community Programmes Sophie Byrne, Assistant Curator: Talks & Lectures Mark Maguire, Assistant Curator: Education and Community Programmes Research: Paula Barrett
Technical Sort: Mark Grattan, Technician Anne Marie Barry, c/o Still Films
List o illstrations: Page 2 Philippe Parreno, The Boy rom Mars, 2003, 35 mm
Page 26 Antony Gormley, Field or the British Isles,
Design:
transerred to High Deni-
1993, Terracotta, Dimen-
Red and Grey Design www.redandgreydesign.ie
tion video, Dolby Digital 5.0 stereo with musical score by Devendra Banhart,
sions variable, approx. 40,000 elements, each 8-26 cm tall, Arts Council
print:
Ed 3/4, 11 min 40 sec.,
Collection, Hayward Gallery,
Plus Print www.plusprint.ie
Collection Irish Museum o Modern Art, Purchase, 2007.
London, Purchase, 1996, Installation view, Irish Museum o Modern Art, Dublin, Ireland. © Courtesy
Marguerite O’Molloy,
Page 5
o the Artist.
Assistant Curator: Collections; Georgie Thompson,
Women rom the Family Resource Centre Inchicore
Assistant Curator: Collections; Monica Cullinane, Public Aairs; Seán Kissane,
& Joe Lee, Open Season, 1998, Hospital bed & video projection on hospital
Head o Exhibitions; Christina Kennedy, Head o Collections; Helen O’Donoghue,
screen, Dimensions variable, Collection Irish Museum o Modern Art, Purchase, 1998.
With thanks to:
Head o Education and Community Programmes and Enrique Juncosa, Director, IMMA.
Page 9 Tim Rollins & K.O.S., The Red Badge o Courage,
Texts © Irish Museum
1988, Oil on book pages on linen, 61 x 92 cm, Collection
o Modern Art and Authors 2010 Images © Irish Museum o Modern Art and
Irish Museum o Modern Art, Donation, the artists, 1993. Page 10
Artists 2010
Paddy Jolley, Rebecca Trost & Inger Lise Hansen,
All rights reserved. No part o this publication may be reproduced, stored in a
Hereater, 2004, Black and white lm transerred rom 16mm/super 8 to DVD,
retrieval system or transmitted in any orm or by any means, electronic, mechanical, photocopying, record-
Collection Irish Museum o Modern Art, Purchase, 2005.
ing or otherwise, without the written permission o the Publishers. Antony Gormley, Field for the British Isles, 1993. Image:
What is Series 1 ?
D M R u i o b l y l i a i t l n a r H 8 y o , s R p I o i r a t e d a l , l a , n K d i l m a i n h a m ,
E F T . . .
i 0 0 n 0 0 f o 3 3 @ 5 5 i 3 3 m 1 m 1 a . 6 6 1 i 1 e 2 2 9 9 9 9 9 0 9 0
Judging work, be it dialogical, relational or collaborative, on a scale rom solidarity to service asks o the reader to refect on the social dimension o participation and the material dimension o social practice rom aesthetic/ political perspectives. Brian Hand
What is particiatory and Relational Art? is the ourth in a series o talks and booklets which aim to provide a general introduction to key concepts and themes in Contemporary Art. What is Participatory and Relational Art? provides an overview o the context in which this emerging category o arts practice has developed. This is accompanied by an essay by Brian Hand, titled A struggle at the roots o the mind: service and solidarity in dialogical, relational and collaborative perspectives within contemporary art.
What is Series 1 ?
D M R u i o b l y l i a i t l n a r H 8 y o , s R p I o i r a t e d a l , l a , n K d i l m a i n h a m ,
E F T . . .
i 0 0 n 0 0 f o 3 3 @ 5 5 i 3 3 m 1 m 1 a . 6 6 1 i 1 e 2 2 9 9 9 9 9 0 9 0
Judging work, be it dialogical, relational or collaborative, on a scale rom solidarity to service asks o the reader to refect on the social dimension o participation and the material dimension o social practice rom aesthetic/ political perspectives. Brian Hand
What is particiatory and Relational Art? is the ourth in a series o talks and booklets which aim to provide a general introduction to key concepts and themes in Contemporary Art. What is Participatory and Relational Art? provides an overview o the context in which this emerging category o arts practice has developed. This is accompanied by an essay by Brian Hand, titled A struggle at the roots o the mind: service and solidarity in dialogical, relational and collaborative perspectives within contemporary art.
w w w . i m m a . i e