Voorhies discusses that in 2006, Manifesta 6 was intended to pose an alternative to the usual format of the biennial exhibition by applying such practices as knowledge production and the curatorialization of education. Artist and curator Anton Vidokle was part of the organizing team who wished to turn the exhibition into a temporary art school (wishing partially to critique the biennial model's typical context-specific formats, generalizing themes, predictable participants, and satellite events. Vidokle and his collaborators were also motivated to actively engage the spectators in the exhibition form. The team was inspired by the learning environment at Black Mountain College in North Carolina that considered the ideological model of art school.
According to your texts and knowledge of art and art history 1. what are the merits to this approach for the spectator and the exhibition form - offer specific examples if possible. 2. Also voice your criticisms or criticisms in the text for this type of approach. 3. Discuss how a pedagogical model or approach could relate to the way you present your own work or change the form of your own exhibitions. 3 paragraphs.
Vidokle’s version of Manifesta 6, which became Unitednationsplaza was very educational with an overwhelming pool of resources from artists, writers, curators, musicians, designers, and filmmakers. I have been a part of things like this and the response from my perspective has been great. It’s not art on a wall, it’s living breathing artist who can inspire.
ReplyDeleteI have also been the recipient of awkward low attended workshops. One in particular was about labor folk songs. Only one person showed up so I, the employee had to attend to fill another seat. A painful two hours.
I’ve always seen my collages as something I am using to inspire other people to make their own art. I hope to engage them, to connect with them, have a conversation with them, and then to inspire them to use the tools I did to tell their story.
Interesting. Have you ever experimented with your collages functioning as an instructional tool? During one of the crits I mentioned Erwin Wurm's diagrams that show viewers how to interact with objects he provides to produce his "one minute sculptures." I am also thinking of assembly required instruction manuels etc.
DeleteI am a fan of art as knowledge production. I think it is good to show the general public what it is like to be inside of the "think tank" or Machine of idea production that you get in higher education. Exposing the masses to research, researchers, artists, demos, speakers is all a good thing that can inspire those not fortunate enough to go to college to take the autodidactic approach.
ReplyDeleteIt is hard for some people to accept the educational format as art. Most people think of an exhibition as a showing of art objects. People can exhibit ideas and research as art. The format of the exhibition historically included these ideas.
This section of text was particularly inspiring in the form of thinking of what an exhibition can be. It has expanded my understanding of the exhibition format.
Yes. Can an art exhibition be a music lesson? Dance lesson? Instrument-making workshop?
Delete1. what are the merits to this approach for the spectator and the exhibition form - offer specific examples if possible.
ReplyDeleteIf the spectator is a member of the community Vidokle’s model might make them more invested in the exhibition.
2. Also voice your criticisms or criticisms in the text for this type of approach.
I don’t have any particular criticisms of this model, I enjoy it as long as it is not too pedantic. But it is clear Manifesta 6 was a disaster. Trying to force cohesion in the midst of political/bureaucratic turmoil is simply asking for a miracle, but one should expect a flop.
3. Discuss how a pedagogical model or approach could relate to the way you present your own work or change the form of your own exhibitions.
I have no desired to be involved in the type of pedagogical model similar to Vidokle’s Manifesta, because they are typically collaborative, and I have no desire to sit through “think sessions”. I am happy to incorporate teaching and provide more knowledge about alternative methods of photography.
Just curious but what if the "think sessions" were meant to produce something tangible or collaborative? It sounds like you are not against teaching within the exhibition form but you want a pragmatic approach to real hands-on processes and outcomes?
DeleteI really admire the concept behind the Vidokle and the collaborators to turn an exhibition into a temporary school. I am interested in the fact that it would make references to the histories of the division of the two spaces between Greek Cypriots and Turkish Cypriots while the spectators conceive the work and the exhibition and would then become an educational platform just as they planned.
ReplyDeleteThey should have gone along with their initial idea for the project by making the exhibition happen as they planned without being dismissed. Of course, I also like the fact that he and his collaborators didn’t kill the concept of turning exhibition into a temporary school after the dismissal but rather went to Berlin to make the unitednationplaza project happen. This situation also brings our mind to what institutions could do to us if we fully depend on their support to make a project become realized.
I like their approach in the sense that the project bridged hierarchical gaps and merged the role of the curators, artists and the spectators together, significantly equal. His strategy of giving the public sphere a sort of intellectual knowledge as part of the concept of New Institutionalism kind of relates to my work with the fridge but I am fascinated by the fact according their project, the spectators, curators with the artist all claim authoritative role in the production of the work.
Also for the 3rd point, I think changing your own form of exhibition as a curator may be quite relative dependent upon status. Directors get fired, curators get dismissed and these issues transpire through the challenges that emerging artists also face with institutions. As emerging an artist, you might at a point encounter a state of confusion whereby you may be tempted to please an institution because sincerely, covet of money becomes the driving force for professional commitment to the practice, I mean for most of us contemporary artists and since the institutions are aware of it. They could play a key role in an artist’s exhibition form and strategies willy-nilly.
"the project bridged hierarchical gaps and merged the role of the curators, artists and the spectators together, significantly equal." This outcome also reflects aspects of the Black Mountain College's experimental and somewhat utopian vision of teaching art. What are the community and institutional benefits to this approach in an exhibition format? Who benefits the most?
DeleteI think the benefit of this kind of approach is to bring more and different variety of audiences into the exhibition space. This attempt is a way to open this somewhat exclusive art world the general public.
ReplyDeleteI like this model because it brings a relaxing atmosphere into the exhibition space. However, finding enough people to attend can be the next problem. Also, there should be a balance between the amount of knowledge and art in the work. I don’t think the audiences are there to be a lecture.
I don’t think my work can teach the viewers knowledge but rather spark their interests to learn about specific knowledge or information themselves.
I agree it varies audiences. It also offers a kind of forum for discussion where audiences (hopefully) can learn more about subject matter through conversations, reading, and questions. What about performance art style lectures. As part of exhibitions many artists offer performances that adopt the guise of a lecture. Sergio Vega, Coco Fusco, Craig Smith, and myself have all worked in this manner for certain projects.
ReplyDelete