art as social engine

art as social and cultural engine. progettare l’arte per reinventare il reale attraverso le estetiche dell’innovazione

eleonora lupo | 19 maggio 2011

arte come azione estetica* progettata* per conformare* la realtà.

ARTE DESIGN

negli EVENTI d’arte e cultura

arte progettata design artistico

AZIONE ESTETICA

azione estetica*: arte come innovazione*

evento temporaneo impatto permanente

pratica performativa development

da progetto dell’esperienza a sviluppo

urban transformation

social & cultural innovation

community activation

focus su qualità di processi ed obiettivi più che su forme e linguaggi

da segni ad azioni

1. pratiche di appropriazione urbana / bottom-up

2. politiche di arte pubblica/ top-down

3. arte ambientale

4. riconversione dei luoghi

azione estetica nei luoghi

… nella forma

convergenze tra arte e design

RON ARADDONALD

… nel processo

convergenze tra arte e design

JARDIN NOMADE, PARIS, 2006STEFANO BOCCALINI, WILD ISLAND, MILANO,

arte come forma di conoscenza e ricerca

«Arts based research practices are a set of tools used during all phases of social research, addressing it in a holistic and engaged ways in which theory and practice arte intertwined» : they are innovatively suitable to different research questions of social and qualitative research because of the «profound possibility of the arts to jar people to see things differently, to transcend differences and to foster connections»(Patricia Leavy, 2008)

Eva Brunner Szabo, Gert Tschögl | Museum of memories , Calaf, 2000

arte come strumento visionario e creativo

«To art, in every culture, has been assigned the task of creating a different world, in other words a different reality» (Francalanci, 2006).For Garroni art is a kind of creative and “constructive”tools for humans in the sense that functions to compensate emotionally the difficulties of adaptation to the environment. He considers art a specialisation of creativity finalised to practical knowledge and communication (Garroni, 2010).

Maria Papadimitriou |Trasbondanza Platform (Luv Car), 2003

arte come processo organizzato

«in art there’s no creativity that it’s not, at the same time, organisation too» (de Monthoux) many artists have developed organisational and productive model: from artists who control and follow the full process from ideation to prototyping and personally realize the work manipulating the matter (the work of art is the piece, with its tangible quality), to artists who, after the conception, rely on a relatively complex supply chain, from materials to final realisation, not participating to any practical activity (the work of art is the idea, the conception).

An Architekture | Oppositional architecture, Berlino, 2004

arte come processo e sistema sociale

being a such complex system, art can be examined as a set of activities like production, intermediation and reception that are relations and processes that happen by means of artefact, specifically works of art (Nathalie Heinich, 2004)Alfred Gell calls “art nexus” this system of relations which connect production, circulation and reception of works of art (Gell, 1998).

Collective Oda Projesi | public apartment in Galata, Instanbul, 1997

arts have a “cold polarity”, self-referred, and a warm polarity, that is the one that crosses the borders of social behaviours and worlds. This second aspect is called “aesthetic action” and is marking the difference from art to court, being an aesthetic action prone to expand in a denser and blur effect (Menna, 1968). Coherently, Menna proposes an “aesthetic perspective”, conceived not as a contemplative action, but as a way to act within a situation to understand and transform it,thus in order to make dialogue politics, technique and aesthetic.

“azione estetica” come politica

This aesthetic dimension of action and practice seems more able to dialogue with the social and politic practices than institutional interventions do: for its attention to the process (the performance) and probably being not deliberately addressing the achievement of results but simply the enabling of behaviours, the aesthetic action results to be more effective in turning performances in performative actions, able to produce or permanently change a form or a context, to enable expressions, to create community, to become a cohesion and integration factor.

“azione estetica” da performativa a conformativa



3. arte ambientale


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bottom-up activation* practices or “informal events”

pratiche da individuali a collettive, tra public art e social practices

- estemporanee: performances-guerrilla actions- temporanee: uso temporaneo- semi-permanti: space occupation e community building

burning issues addressed

- tematiche sociali, pubbliche, dello spazio-questioni di genere e di identità/diversità culturale

bottom-up activation* practices or “informal events”

Škart | Horkeškart, Belgrado, 2000-2003

Mircea Cantor | Landscape is changing, Tirana, 2003

Athanasia Kyriakakos | Park in progress, NY, 2004

Athanasia Kyriakakos | The gift of Athina, 2004

Rosa Rosae garten, Berlin, since 2004

permanent breakfast, various places, since 1996

http://designpubblico.it/publicdesignfestival/it/home/

Esterni | Design Pubblico, Milano, since 1995

http://parkingday.org/

Collective Rebar | Park(ing) day, San Francisco, since 2005

Stecca degli artigiani e giardini di via Castilla, quartiere isola, Milano

Bert Theis | Isola park , Milano, 2001

Stefano Boccalini | Wild island , Milano, 2002

OUT Office for Urban Transformation, Milano, 2002

Isola Art center, Milano, 2005

Tomas Saraceno | Museo Areo Solar , Milano, 2007

different artists | Permanent green, Isola, Milano, 2008

Marco Vaglieri | Il parco possibile, Isola, Milano, 2008

occupation, appropriation, activation and transformation actions tend to draw in the urban fabric a “minorgeography” capable of giving visibility and responses to the needs and forgotten desires of an “insurgent”city looking for structures connecting people and places

una geografia minore (scotini, 2003)

according to Sennett, communities “make uses of disorder” to trigger their personal identity in the city life (Sennett, 1970).

Mircea Cantor | Shortcuts, 2004

arte anti-monumnets

Daniel Eatock| Picture of the week, 2003-2007

lo spazio pubblico “non è più definibile un luogo certo e stabile della contemplazione, ma è un dispositivo mobile e incessantemente alterabile…”(Gravino, 2008):aumentano le pratiche artistiche in cui «con l’agire estetico

[...] si fa riferimento ad un forte antideterminismo e soprattutto, una volontà di partecipare, direttamente ed in tempo reale, alla trasformazione sociale» (Scotini, 2003)lo spazio pubblico diventa il luogo di nuove pratiche di scambio e riconoscimento attraverso la metafora del luogo (non) comune, inteso come spazio carico di significati attivatore di intimità pubblica, dentro la quale le comunitàsi rappresentano (Pietromarchi, 2005)

lo spazio pubblico come luogo comune

arte per connettere persone e luoghi

Collective Oda Projesi | public apartment in Galata, Instanbul, 1997

Maria Papadimitriou |T.A.M.A. Temporary Autonomous Museum for All, Avliza 1998-2000

arte nei non luoghi della città

Si passa da logiche che spostano l’azione da una semplice localizzazione nella comunità, ad una attività per la comunità con la comunità, azione che crea di per sécomunità (Toscano, 2004).

Gli interventi usano una prospettiva di empowerment sociale, ponendo l’accento sull’autodeterminazione e sul recupero di una capacità autonoma e collettiva, «in opposizione ad un sistema che impone controllo ed omologazione» (Pietromarchi, 2005

abilitare le comunità invisibili ad auto-rappresentarsi

Luca Vitone | Wider city, Milano, 2006

arte come espressione della diversità culturale

il pubblico creatore dell’azione estetica

Ivan | Firenze

“a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space”: artists produce social models (Bourriaud, 2000)

Being designed interventions, even if temporary they needto deal with some kinds of bonds and commitments, like spatial gages or economical ones, that makes them more similar to voluntary and conscious actions than extemporaneous ones

una estetica relazionale (scotini, 2003)

These artists have adpted a performative process based approach.They are context provider rather than content provider. Dialogical projects unfold through a process of performative interaction. They are organized around a collaborative, rather than specular, relationship with the viewer.

dialogical aesthetics (Kester, 2004)

Rirkrit Tiravanija

art producing social models as durable effect

top-down enabling intervention

arte pubblica da allestimento a “dot-azione” per città e territorio: l’arte pubblica designa complesse realizzazioni artistiche che privilegiano lo spazio pubblico come luogo di intervento (Fagone, 2006): essa proviene da una forma di commessa pubblica (Perelli, 2006).L’arte pubblica si pone come strumento essenziale di riscrittura e modellazione dello spazio urbano, stabilendo relazioni, feconde e mobili con chi vi abita, e riaprendo il dialogo con la committenza istituzionale (Trimarco, 2008)

burning issues addressed

- sensibilizzazione a questioni sociali e identitarie- spazio pubblico e decoro urbano- servizi sociali, salute, welfare- rigenerazione urbana

Luoghi Comuni, ATM, Milano 2009

Alfredo Jaar | Questions, Milano 2009

Arte nei ponteggi, Milano, 2002-2005

Carlo Buzzi | Manifesti d’artista, Triste, 1999

Gonzales Torres| Untitled, 1991

CITTàZIONI, Milano, 2003

Artisti vari | Enel contemporanea, Roma 2008

Dough Aitken| Frontier, Roma 2009

http://www.ledfestival.it/Light Exhibition Design Festival, Milano, anno

http://www.miglioreservetto.comMigliore +Servetto| Look of the city, Torino, 2006

www.tecarteco.netTec Art Eco , Como-Lugano, 2010

http://festival.humancities.euhttp://www.humancities.euHuman city festival , Bruxelles, 2010

conversational pieces and relational objects

Matta Clark | Gonzales Torres

convivial places (cities, territories)

Add on

1. to work on social transformations, through self‐organization in “territorial laboratories” of networking and involvement of various social actors; 2. to trigger innovation processes from the social creativity, by people collective involvement and collective actions that expand the concept of authorship to that one of participation, in a virtuous mixture between private and public dimension;3. to sustaibily pick the weaker signals and tend to focus on and re‐use residual places;4. to range range from acts of pure challenge to advocacy and empowerment activities of infrastructural facilities using a sort of “repairing process”

aesthetic action strategies for urban development

5. to use multiple approaches, logics, tools and techniques of intervention, introducing a fusion between art,design, architecture and urban design through a concept of performance, urban happening, event or site‐specific services6. to network people in a physical system of connections and relations also with the use of technology and digital devices

aesthetic action strategies for urban development

The metaphor of exhibition and setting up becomes the paradigm of reversibility and convertibility of a contemporary “light city” (Altarelli, 2006), in order to encourage opportunities for reuse through potentially democratic activities and facilities. These are collected in a list of equipment called“dot‐actions” from which institutions and private citizens can freely draw inspiration for a creative city (Landry, 2000)

from temporary event to “dot-actions”

3. arte ambientale

processo artistico o opera d'arte in cui l'artista si confronta attivamente con l'ambiente naturaleAzione estetica a diverse scale: da scultura/intervento urbano a paesaggio per trasformare lo spazio

da arte naturale ad arte site specific

Artisti vari| Parco sculture di Wanas, Svezia, 2008

Casali, Moca| Contesto, Comune di Navelli, 2008

Paesaggio Worksgroup | Azione Matese-Villaggio dell’arte, Caserta, 2008

Artisti vari| Estuarie, Francia, 2009

Artisti vari| Fiumara D’arte, Sicilia, 2008

Patrick Andrè, Anna-Violaine Taconet | Les paysagers du dit, Touraine, 2002

Mario Airò | Belvedere, Aquila, 2003

Zafos Xagoriaris | The silent center, Cipro, 2003-2005

Burri| Cretto, Gibellina Vecchia, 1989

da land art ad artscapes (Galofaro, 2003)

Peter Heisemann| Holocaust Memorial, Berlino, 1997

rivalutazione e dotazione territoriale

JCCAC-Jackie Club Creative Art center , Hong Kong

Fo-tan, Hong Kong

Cattle depot artist village 1st space , Hong Kong, 2001

Factory 798 , Beijing

OGR- Officine grandi riparazioni , Torino

Abitare (Ex-Faema), Milano, 2002-2003

consegnare all’azione estetica una storia

rather than an artistic component per se, it is the aesthetic and relational value which gives force to these interventions and underlines their political vocation: precisely because they are potentially perceived as actions that do not impose deliberately transformations, but simply make them possible, providing structures and contexts that allow the hybridation of institutional projects to self‐produced and more spontaneous activities, they manage to be disruptive and effective in generating positive changes, ranging from places re‐functionalization to better integration and social cohesion.

political vocation

intangibile: costruzione di identità, abilitazione e capacitazione all’espressione e autorappresentazione di luoghi e comunità, social e cultural innovation, innovazione di significati e usi

tangibile: trasformazione e sviluppo dello spazio urbano e del territorio, dotazioni per la fruizione dei luoghi e contesti per la creatività

impatto durevole dell’azione estetica

Scotini M. (ed. by), Networking city. Pratiche artistiche e trasformazione urbana, Maschietto editore, Firenze, 2003

Scarbi G. (ed. by), Less. Strategie alternative dell’abitare, 5Continents, Milano, 2006

Pietromarchi B. (ed by), Il luogo (non) comune. Arte, spazio pubblico ed estetica urbana in Europa, Actar, Barcelona, 2005

thank [email protected]

art as social engine

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