Partizipative Modelle von Kunst im öffentlichen Raum

Art deals with social problems nowadays, relying time and again on the active participation of the public for concept and production. But who works for and with whom on this art in the interest of the public, and under whose behest? Where are the comprehensible models, where are their weak points? What are the possibilities of intervention for art in the diverse public spaces of the present time and where does it find the opportunity to mark out its domain between mobilisation and localisation?
The aim of this project was to provide answers to these questions with two completely different examples representative of participatory practices – one of an artistic and the other of a curatorial nature.

20th November 2002, 19.30
So wohnen wir
With her project So wohnen wir Pia Lanzinger places the communicative aspect of residence at the centre of attention. She organised Wohnwanderungen (Home-Hikes) in the trade fair town Riem (the trade fair town Riem is one of the largest urban projects in Europe and is located on the site of the former Munich-Riem airport. By the end of 2001 about 750 apartments had been completed, in total 7,500 apartments for 16,000 residents are to be constructed over the coming years), which provided an insight into various residential forms and interior design concepts. A small circle of residents showed each other the design of their private living space. A social and cultural exchange occurred through these neighbourhood tours, which Pia Lanyinger recorded on video.
The magazine Schönes Wohnen in der Messestadt Riem unites the recorded communication with artistic contributions and fundamental considerations on urbanism and the art of interior design. It takes up formal elements from typical interior design magazines but reflects the realities of life for the inhabitants of the trade fair town in its content. Their social positions, residential worlds and the way they are staged are at the centre of interest. The magazine combines the attractive image and aesthetic pleasure of a typical interior design magazine with the real residential situations.
Pia Lanzinger showed her project "So wohnen wir" alongside her video in an installation for transeuropa, and discussed her communicative abilities in relation to bringing about this work at a well-attended lecture.

4th December 2002, 19.30
The Protocol
Francois Hers introduced a new model for the political economy of art in public space. He had already drawn up Het Protokoll in Flemish in 1963. In 2001 it was republished in French, English, German, Spanish, Portuguese, Italian, Greek, Russian, Swedish, Japanese and Chinese by the publishing house les presses du reel. In his democratic model the spectator becomes the protagonist and takes on the responsibility for the production of an artwork himself. The Protocol converts citizens into agents, into patrons and clients in the field of art, independent of their financial situation. The role of intermediary or mediator, is very important in this three-way relationship between artist, citizen and patron. The mediator has the task of ascertaining the wishes of the patron and client, proposing a suitable artist and carrying through the realisation of the artwork with both of them together. This process can last for different lengths of time, it can stretch over years, but is fundamental to the successful accomplishment of a project. Hers initially developed this model with private capital and later cooperated with the Fondation de France, which was founded at the suggestion of André Malraux in 1969 to promote patronage in the fields of culture, health care and industrial solidarity in France.
Here the definition of art is very broad: besides artistic issues and their further development, questions relating to social relations and to the political, legal and technical dimensions of the production of artworks are also posed. Under the titles Neue Auftraggeber and Künstlerinitiative, Das Protokoll has completed over a hundred artworks in France already.

Curator: Hedwig Saxenhuber

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