The six projects of STATUS QUO VADIS undertook a scene change, beginning on the interface of social diagnoses between aesthetic and political processes and the process of presentation, as well as performative processes. Passers-by, tourists and theatregoers were able to participate in the production of counter-narratives for familiar events. The project spread throughout the town as a reappraised mapping of experiential spaces in the permeation of chorographies from the Danube over Leopoldsbrücke and Rathausplatz to the Bettlerstiege at Melk Abbey. These choreographies were developed in the mutual dramatological impact between individual projects and the situation on location. The intention was to draw a new map of Melk, as an expedition into new territories for art — free from utopianism and monument-based thinking. Today, public art plays its hand not only as a corrective for communication and participation to measure socio-political cultural spaces, but creates space for the intensification of reality production. Of course, a targeted expansion of the radius of activity is as much in play as the completion of progressive interdisciplinary projects ranging from sculpture and interventions to sound and light installations. We are the viewers, the audience, the listeners. We are artists, critics, curators, or know people who are. We normally meet at exhibitions, at openings or in public talks. We speak, we act. At the same time the roles ascribed to us find themselves continually interacting, they do not just engage with one focus but allow us to pose the question of the potential of our commitment afresh again and again. We are here — now. We share this public space, this entertainment, seeing, hearing and experiencing the work. The artists participating in STATUS QUO VADIS accentuate this relationship. They approach different positions simultaneously integrating the audience's varying perspectives.
How does an exhibition become an arena for the forming of opinions? Through participation the public has the potential to be co-producers of public art. The re-territorialisation of cultural phenomena was already a source of perplexity for Henri Lefebvre, the father of the current debate on urbanism. He argued for an intensive exchange between the spheres of physical and mental space on the basis of social practise.

The six projects of STATUS QUO VADIS undertook a scene change, beginning on the interface of social diagnoses between aesthetic and political processes and the process of presentation, as well as performative processes. Passers-by, tourists and theatregoers were able to participate in the production of counter-narratives for familiar events. The project spread throughout the town as a reappraised mapping of experiential spaces in the permeation of chorographies from the Danube over Leopoldsbrücke and Rathausplatz to the Bettlerstiege at Melk Abbey. These choreographies were developed in the mutual dramatological impact between individual projects and the situation on location. The intention was to draw a new map of Melk, as an expedition into new territories for art — free from utopianism and monument-based thinking. Today, public art plays its hand not only as a corrective for communication and participation to measure socio-political cultural spaces, but creates space for the intensification of reality production. Of course, a targeted expansion of the radius of activity is as much in play as the completion of progressive interdisciplinary projects ranging from sculpture and interventions to sound and light installations. We are the viewers, the audience, the listeners. We are artists, critics, curators, or know people who are. We normally meet at exhibitions, at openings or in public talks. We speak, we act. At the same time the roles ascribed to us find themselves continually interacting, they do not just engage with one focus but allow us to pose the question of the potential of our commitment afresh again and again. We are here — now. We share this public space, this entertainment, seeing, hearing and experiencing the work. The artists participating in STATUS QUO VADIS accentuate this relationship. They approach different positions simultaneously integrating the audience's varying perspectives.
How does an exhibition become an arena for the forming of opinions? Through participation the public has the potential to be co-producers of public art. The re-territorialisation of cultural phenomena was already a source of perplexity for Henri Lefebvre, the father of the current debate on urbanism. He argued for an intensive exchange between the spheres of physical and mental space on the basis of social practise.



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