It includes the English version of the survey article "Kunst als dichtes Wissen: Das Forschungsprojekt Kunst Öffentlichkeit Zürich" (pp. This booklet is an English-language supplement to the German publication "Kunst und Öffentlichkeit: Kritische Praxis der Kunst im Stadtraum Zürich," edited by Christoph Schenker and Michael Hiltbrunner (Zurich: JRP|Ringier, 2007).
The closing section examines artistic research and its significance in our knowledge society. One section of the contribution leads to the thesis that art in public space – similar to comparable phenomena in the sciences – can trigger a profound reevaluation of the concept of art.
After introducing the mission statement and the Organization Art in Public Space Zurich, developed in cooperation with the City of Zürich, the methodological approach will be described that underlies the project, namely, to determine factors that will open contextual fields of reference for public art, thereby strengthening its social relevance. The publication presents an overview of the research project "Art Public Zurich" and also places it within a theoretical framework. Interviews conducted by students in the Postgraduate Programme in Curating: Nadja Baldini, Silvia Converso, John Kenneth Paranada, Eleonora Stassi, Agustina Strüngmann, Adriana Domínguez Velasco and Dina Yakerson With contributions from Grandhotel Cosmopolis Augsburg, Marina Belobrovaja,Søren Berner, Ursula Biemann, Michael Birchall, Dario & Mirko Bischofberger, Fabrizio Boni & Giorgio de Finis, Eyal Danon, Altes Finanzamt, San Keller, Beta Local, Oliver Ressler,Planting Rice,Dorothee Richter andMartin Schick, featuring works by Jeanne van Heeswijk, San Keller and Szuper Gallery. Many of the projects presented exist beyond the art circuit, and enter the social consciousness of the spaces they encounter. The range of interviews and essays presented are reflective of the dynamic range of practices that exist in the social sphere. In considering the notion of social sculptures, this issue of On Curating reflects on the projects encountered by the Postgraduate Programme in Curating, and explores this topic into an international context of artists working with social change, housing, politics, food and economics.
“Social Sculpture” – the German notion even downplays this term as “Soziale Plastik” was coined by Joseph Beuys, as new form of creating art, and influencing society, his expanded notion of the area of the arts was initiated by the confrontation with Fluxus practices, when he hosted one of the first Fluxus Festivals in Düsseldorf.
Drift max pro drift im winkel beenden archive#
Their contributions to the archive questioned the idea of community, and was exhibited at the White Space, Zürich and secondly at Kunstmuseum Thun. An archive of shared interests was developed with the artists: Marina Belobrovaja, Ursula Biemann, Corner College, Jeremy Deller, eggerschlatter, Finger (evolutionäre zellen), forschungsgruppe f, Heinrich Gartento, Hanswalter Graf, Fritz Haeg, Christina Hemauer & Roman Keller, Michael Hieslmair & Michael Zinganel, interpixel, Martin Kaltwasser & Folke Köbbeling, San Keller, Pia Lanzinger, Michaela Melián, metroZones, Peles Empire, Frédéric Post, Public Works, Alain Rappapor, raumlaborberlin, RELAX (chiarenza & hauser & co), Oliver Ressler, Shedhalle, Erik Steinbrecher, support structure (Celine Condorelli and Gavin Wade), Szuper Gallery, tat ort, Jeanne van Heeswijk, Markus Weiss. The curatorial project “social sculptures” took place in four different parts over one and a half years, the curatorial concept evolved through time as more participants became involved.
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