24sept One Place After Another Federico

8/12/2019 24sept One Place After Another Federico

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ONE PLACE AFTER ANOTHER*NOTES ON SITE SPECIFICITY

MIWON KWON


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PARADIGMAS DE LA ESPECIFICIDAD DE SITIO

- Fenomenolgica- Social Institucional- Discursiva


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NOCIN DE SITIO EN RELACIN A:

OBJETOESPACIOESPECTADORCIRCUITO DEL ARTE / MERCADO


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1960 - 70S (inicios)Fenomenolgica

(site installation) is made to suit the place in which it was installed. Theycannot be moved without being destroyed. Robert Barry 1969Inert Gas Series.Barry released five of the six noble gases into the atmosphere in various locations in

Southern California, including Beverly Hills, Santa Monica, and the Mojave Desert

-Poster con locacin y telfono

- Registro fotogrfico

Peinture-Sculpture was removed the day before the opening of theGuggenheim International Exhibit ion, 1971

ver http://www.moca.org/landart/
http://www.moca.org/landart/http://www.moca.org/landart/http://www.moca.org/landart/http://www.moca.org/landart/http://www.moca.org/landart/http://www.moca.org/landart/http://www.moca.org/landart/


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1960 - 70S (inicios)

I don't make portable objects. I don't make works that can berelocated or site adjusted. I make works that deal with theenvironmental components ofgiven places. The scale, size, andlocation of my site-specific worksare determined by the topography ofthe site...

My sculptures are not objects for the viewer to stop and stare at. Thehistorical purpose of placing sculpture on a pedestal was to establisha separation between the sculpture and the viewer. I am interested in

creating a behavioral space in which the viewer interacts with thesculpture in its context.

One's identity as a person is closely connected with one's experienceof space and place.

...a site-specific sculpture is one that is conceived and created inrelation to the particular conditions of a specific site, and only to those

conditions.To removeTilted Arc, therefore, would be to destroy it . . .

Richard Serra, 1989

Tilted Arc, Richard Serra, 1981Commissioned by the United States General Services Administration's Arts-in-Architectureprogram for the

Federal Plazain New York, NY, USA.

Fenomenolgica
http://en.wikipedia.org/w/index.php?title=Federal_Plaza&action=edit&redlink=1http://en.wikipedia.org/wiki/New_York,_NYhttp://en.wikipedia.org/wiki/USAhttp://en.wikipedia.org/wiki/General_Services_Administrationhttp://en.wikipedia.org/w/index.php?title=Arts-in-Architecture&action=edit&redlink=1http://en.wikipedia.org/wiki/USAhttp://en.wikipedia.org/wiki/USAhttp://en.wikipedia.org/wiki/New_York,_NYhttp://en.wikipedia.org/wiki/New_York,_NYhttp://en.wikipedia.org/w/index.php?title=Federal_Plaza&action=edit&redlink=1http://en.wikipedia.org/w/index.php?title=Federal_Plaza&action=edit&redlink=1http://en.wikipedia.org/w/index.php?title=Arts-in-Architecture&action=edit&redlink=1http://en.wikipedia.org/w/index.php?title=Arts-in-Architecture&action=edit&redlink=1http://en.wikipedia.org/wiki/General_Services_Administrationhttp://en.wikipedia.org/wiki/General_Services_Administration


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1960 - 70S (inicios)

VS Objeto (moderno) autnomo(nocin del pedestal) autoreferencial

transportable

Objeto: conectado a la tierra, presente en el espacio (grounded)

Sitio: realidad tangible / fsica / espacial (altura, profundidad, textura, etc.)

Espectador: presencia corporea (experiencia) dar cuerpo a los ojos

Mercado: oposicin a la circulacin / intercambio / nocin de bien

Fenomenolgica


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SOCIAL INSTITUCIONALSITIO (CULTURAL FRAMEWORK)

Arte conceptualCrtica institucional

70s


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Espacio como resultado de una interelacin de distintos espaciosy economas estudio, galera, museo, historia del arte, crtica.

Social Institucional

Sitio especfico decodificar, recodificar y exponer las convencionesy operaciones ocultas que moldean el valor cultural y econmico del arte


70s


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"Whether the place in which the work is shown imprints and marks this work,whatever it may be, or whether the work itself is directly-consciously or not-producedfor the Museum, any work presented in that framework, if it does not explicitlyexamine the influence of the framework upon itself, falls into the illusion of selfsufficiency-or idealism." Daniel Buren, 1970

Peinture-Sculpture was removed the day

before the opening of the Guggenheim

International Exhibit ion, 1971


70sSocial Institucional


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Hans Haacke

Condensation Cube1963

Ver ms http://web.mit.edu/mmj4/www/downloads/papers.pdf


http://web.mit.edu/mmj4/www/downloads/papers.pdfhttp://web.mit.edu/mmj4/www/downloads/papers.pdfhttp://web.mit.edu/mmj4/www/downloads/papers.pdf


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El marco en el que las tcnicas y los efectos de la institucin delinean ydefinen la presentacin, produccin y distribucin del arte se convierte el

sitio de intervencin

El sitio y la obra se desmaterializa,

Obra se convierte en un proceso (verbo), deja de ser un objeto (sustantivo)




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Measurement series (late 1960s)Mel Bochner




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Within and Beyond the Frame1973 fabric, paint, steel cables




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gneroraza

clase

Espectador como sujeto (a)

Configuracin ideolgica de la mirada.




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Maintenance Art Works, 1969-1979Mierle Laderman Ukeles

Ver: Manifesto for Maintenance


http://www.feldmangallery.com/pages/artistsrffa/artuke01.htmlhttp://www.feldmangallery.com/pages/artistsrffa/artuke01.html


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Desestetizacintoma forma de informacin, exposicin, objeto didactico, gestos, etc.

Provoca crtica y fsicamente al espectador

Preguntndose por la configuracin ideolgica de la mirada (percepcin)

(en relacin a la mercantilizacin)




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Mierle Laderman Ukeles' piece The Social Mirror (1983) appeared as part of the grand finale of the first New York City ArtParade. The piece is a 20 cubic yard garbage collection truck, which is still used by the New York Department of Sanitation for

special events and festivals, that is clad in hand-tempered glass mirrors with smoke Plexiglas mirror trim. The reflecting truck isa metaphor for the interralationship between "us" whose images get caught in the mirror and "those" who collect our garbage.




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DISCURSIVASITIO (EN LO SOCIAL, FUERA DEL ARTE)en trminos fsicos e intelectuales

Relacional90s

Social Institucional


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Sitio especfico como un marco para abordar problemticas sociales.

90s

The root is on fireSuzanne Lacy, 1994

Junio 1994. 22o adolescentes se encuentran en 100 coches en un garaje

sobre un tejado de Oakland, California.

https://vimeo.com/25488675

Discursiva
https://vimeo.com/25488675https://vimeo.com/25488675


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Espectador?

Sitio especfico ocupa hoteles, calles, escuelas, hospitales, supermercados.

Interdisciplina: sociologa, antropologa, biologa, etc.

90s

obra

artista espectador

colaborador, participante, co-autor, etc.

Discursiva


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Mark Dion, On Tropical Nature, 1991

Sitio 1: Bosque cerca del ro Orinoco

Sitio 2: Sala Mendoza

Sitio 3: El marco de la exhibicin Arte Joven en Nueva YorkSitio 4: Discurso en relacin a la crisis ambiental y las

representaciones culturales de la naturaleza.

Discursiva


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un proceso sucediendo entre sitios, un mapeo de sus filiacionesinstitucionales y discursivas as como de los cuerpos que se mueven entre

ellos.

Functional Site (James Meyer)

El sitio se estructura intertextualmente (discursos) ms que espacialmente.Es un itinerario de una secuencia de eventos y acciones entre espacios

(articulados por el artista)

Una cosa despus de otra (one place after another)

El sitio le da textualidad al espacio y espacialidad al discurso

90sDiscursiva


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MOVILIZACIONES DEL ARTE DE SITIO ESPECFICO


70s


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Wall

Donald Judd, 1970

Panza Collection for Art in America. Ace Gallery


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Crocheted EnvironmentWarmhouse project, 1972

Panza Collection for Art in America. Ace Gallery


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-Problemtica de distribucin/comercializacin/exhibicin.

-Autenticidad del arte de sitio especfi

co-Problemtica entre Autora / Autoridad (artista como director/supervisor)

-Marginacin / Neutralizacin de las obras (discursos) de sitio especfico


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ARTISTAS ITINERANTES


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-Artista como freelancer, invitado, aventurero, trotamundos,pseudoetngrafo, etc.

-Comisin resultado de una mezcla de circunstancias geogrficasy temporales (parciales y dependientes de las relaciones que el artista

establezca en el sitio)

http://www.artangel.org.uk/projects
http://www.artangel.org.uk/projectshttp://www.artangel.org.uk/projectshttp://www.artangel.org.uk/projectshttp://www.artangel.org.uk/projectshttp://www.artangel.org.uk/projects


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Carla Herrera-Prats,Facility Change, 2011.


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El artista ms all de producir (arrastrar, girar, forrar, cortar)son servicios crticos - artsticos (negociar, coordinar, comprometerse,investigar, organizar)

Artista como facilitador, educador, coordinador, burcrata.


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Crtica:certainly, site-specific art can lead to the unearthing of repressed histories,provide support for greater visibility of marginalized groups and issues, andinitiate the re(dis)covery of "minor" places so far ignored by the dominant

culture. But ...as the current socioeconomic order thrives on the (artificial)production and (mass) consumption of difference (for difference's sake), thesiting of art in -"real" places can also be a means to extract the social andhistorical dimensions out of places to variously serve the thematic drive of anartist, satisfy institutionaldemographic profiles, or fulfill the fiscal needs of a city.


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ver

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24sept One Place After Another Federico