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 realtĂ .
ARTE arte progettata
AZIONE ESTETICA
negli EVENTI d’arte e cultura
DESIGN design artistico
azione estetica*: arte come innovazione* evento temporaneo
impatto permanente
pratica performativa
development
da progetto dell’esperienza a sviluppo community activation urban transformation social & cultural innovation
da segni ad azioni focus su qualitĂ di processi ed obiettivi piĂš che su forme e linguaggi
azione estetica nei luoghi 1. pratiche di appropriazione urbana / bottom-up 2. politiche di arte pubblica/ top-down 3. arte ambientale 4. riconversione dei luoghi
convergenze tra arte e design ‌ nella forma
DONALD
RON ARAD
convergenze tra arte e design … nel processo
STEFANO BOCCALINI, WILD ISLAND, MILANO,
JARDIN NOMADE, PARIS, 2006
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 Tschรถgl | Museum of memories , Calaf, 2000
Eva Brunner Szabo, Gert Tschรถgl | 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
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
An Architekture | Oppositional architecture, Berlino, 2004
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
Collective Oda Projesi | public apartment in Galata, Instanbul, 1997
“azione estetica” come politica 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� da performativa a conformativa 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.
1. pratiche di appropriazione urbana / bottom-up 2. politiche di arte pubblica/ top-down 3. arte ambientale 4. riconversione dei luoghi
dall’evento all’estetica dell’innovazione
azione estetica nei luoghi
1. pratiche di appropriazione urbana / bottom-up
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 identitĂ /diversitĂ culturale
bottom-up activation* practices or “informal events�
Ĺ kart | HorkeĹĄkart, 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
Esterni | Design Pubblico, Milano, since 1995
http://designpubblico.it/publicdesignfestival/it/home/
Collective Rebar | Park(ing) day, San Francisco, since 2005 http://parkingday.org/
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
Tomas Saraceno | Museo Areo Solar , Milano, 2007
different artists | Permanent green, Isola, Milano, 2008
different artists | Permanent green, Isola, Milano, 2008
Marco Vaglieri | Il parco possibile, Isola, Milano, 2008
una geografia minore (scotini, 2003) occupation, appropriation, activation and transformation actions tend to draw in the urban fabric a “minor geography” capable of giving visibility and responses to the needs and forgotten desires of an “insurgent” city looking for structures connecting people and places according to Sennett, communities “make uses of disorder” to trigger their personal identity in the city life (Sennett, 1970).
arte anti-monumnets
Mircea Cantor | Shortcuts, 2004
Daniel Eatock| Picture of the week, 2003-2007
lo spazio pubblico come luogo comune 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 comunità si rappresentano (Pietromarchi, 2005)
arte per connettere persone e luoghi
Collective Oda Projesi | public apartment in Galata, Instanbul, 1997
arte nei non luoghi della cittĂ
Maria Papadimitriou |T.A.M.A. Temporary Autonomous Museum for All, Avliza 1998-2000
abilitare le comunità invisibili ad auto-rappresentarsi 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 sé comunità (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
arte come espressione della diversitĂ culturale
Luca Vitone | Wider city, Milano, 2006
il pubblico creatore dell’azione estetica
Ivan | Firenze
una estetica relazionale (scotini, 2003) “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 need to 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
dialogical aesthetics (Kester, 2004) 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.
art producing social models as durable effect
Rirkrit Tiravanija
2. politiche di arte pubblica/ top-down
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
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
Light Exhibition Design Festival, Milano, anno
http://www.ledfestival.it/
Migliore +Servetto| Look of the city, Torino, 2006
http://www.miglioreservetto.com
Tec Art Eco , Como-Lugano, 2010
www.tecarteco.net
Human city festival , Bruxelles, 2010
http://festival.humancities.eu http://www.humancities.eu
conversational pieces and relational objects
Matta Clark | Gonzales Torres
convivial places (cities, territories)
Add on
aesthetic action strategies for urban development 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 services 6. to network people in a physical system of connections and relations also with the use of technology and digital devices
from temporary event to “dot-actions” 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)
3. arte ambientale
da arte naturale ad arte site specific processo artistico o opera d'arte in cui l'artista si confronta attivamente con l'ambiente naturale Azione estetica a diverse scale: da scultura/intervento urbano a paesaggio per trasformare lo spazio
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
Patrick Andrè, Anna-Violaine Taconet | Les paysagers du dit, Touraine, 2002
Patrick Andrè, Anna-Violaine Taconet | Les paysagers du dit, Touraine, 2002
Mario Airò | Belvedere, Aquila, 2003
Mario Airò | Belvedere, Aquila, 2003
Zafos Xagoriaris | The silent center, Cipro, 2003-2005
Zafos Xagoriaris | The silent center, Cipro, 2003-2005
da land art ad artscapes (Galofaro, 2003)
Burri| Cretto, Gibellina Vecchia, 1989
rivalutazione e dotazione territoriale
Peter Heisemann| Holocaust Memorial, Berlino, 1997
4. riconversione dei luoghi
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
consegnare all’azione estetica una storia
Abitare (Ex-Faema), Milano, 20022003
political vocation 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.
impatto durevole dell’azione estetica 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
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 you. eleonora.lupo@polimi.it