Journal articles: 'Site-specific art'

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Kurg, Regina-Nino. "Aesthetic consciousness of site-specific art." South African Journal of Philosophy 32, no. 4 (October 2, 2013): 349–53. http://dx.doi.org/10.1080/02580136.2013.865098.

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Tanyildizi, Seda Ozen. "Scale: New Strategies in Site-Specific Art." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 107–12. http://dx.doi.org/10.18844/prosoc.v4i11.2864.

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Today, one of the crucial issues for discussions on site-specific art is scale. The journey of site-specific art, starting with a quite minimal insertion into an empty gallery space is now institutionalised according to utterly different aims, sometimes involving enormous dimensions. However, to discuss the subject of ‘site-specific art’ only with regard to high-budget projects of major institutions would mean ignoring the large group of artists who work outside these controversial circumstances, employ physical features of a site as a tool to convey their artistic approaches, and do not make compromises in the face of institutional pressure. This study analyses new alternatives regarding site-specific art today and reviews these examples through the recent popular issue of scale, considering the necessity for artists to make compromises in line with the demands of institutions or viewers. The data were collected via questionnaires and interviews, with artists who live and work in Berlin. Keywords: Site-specific art, scale, public art.

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Kim, Jong Ryeol. "A study on the ‘Site-Specific Art’." Korea Institute of Design Research Society 4, no. 4 (December 30, 2019): 9–18. http://dx.doi.org/10.46248/kidrs.2019.4.9.

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Krilov, I. A. "SITE-SPECIFIC ART-PRACTICE AS AN ALTERNATIVE FORMAT OF THEATRE ART." Arts education and science 1, no. 4 (2021): 47–56. http://dx.doi.org/10.36871/hon.202104006.

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The author of the article attempts to identify and distinguish traditional and alternative formats of theatre art established by the early 20s in the space of home theatre. The author considers the determinants of the emergence and spread of art practices in the domestic theatre art and refers them to the alternative formats of theatre art. The culture of complicity (participation), producer strategies of postdramatism and digitalization of daily occurrence are presented as fundamental grounds for the emergence of such a non-classical creative model as a site-specific art practice in the landscape of Russian theatre art of the XXIst century. The unstable dynamics of the attractiveness of the non-classical creative model in the Russian theatre space is caused by a number of reasons explicitly presented in the article. The accumulated home theatre experience is developing and being realized by the early 20s in traditional and alternative formats of theatre art, which simultaneously influence each other. The actualization of site-specific art practice is evaluated by the author as a positive phenomenon that allows to update and to expand the arsenal of producer strategies, to discover an innovative approach to creating an aesthetic event, to transform the audience participation within the framework of home theatre art and the culture of participation.

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MacDonald, Shana. "On Resonance in Contemporary Site-Specific Projection Art." Performance Research 19, no. 6 (November 2, 2014): 64–70. http://dx.doi.org/10.1080/13528165.2014.985101.

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Johnston, D. "Legal I: Site-specific art and changing circumstances." Museum Management and Curatorship 7, no. 3 (September 1988): 298–300. http://dx.doi.org/10.1016/0260-4779(88)90040-4.

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Hawthorne, Lucy. "When the Walls Aren’t White: Site-specific Art in Non-art Museums." International Journal of the Inclusive Museum 3, no. 2 (2010): 121–32. http://dx.doi.org/10.18848/1835-2014/cgp/v03i02/44328.

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Bernier, Michelle. "Fred Astaire’s site-specific choreography: High art for the low-art consumer." Studies in Musical Theatre 9, no. 3 (December 1, 2015): 255–63. http://dx.doi.org/10.1386/smt.9.3.255_1.

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Hayes, Lauren. "From Site-specific to Site-responsive: Sound art performances as participatory milieu." Organised Sound 22, no. 1 (March 7, 2017): 83–92. http://dx.doi.org/10.1017/s1355771816000364.

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This article concerns context-based live electronic music, specifically performances which occur in response to a particular location or space. I outline a set of practices which can be more accurately described as site-responsive, rather than site-specific. I develop a methodological framework for site-responsive live electronic music in three stages. First, I discuss the ambiguity of the termsite-specificby drawing on its origins within the visual arts and providing examples of how it has been used within sound art. I then suggest that site-responsive performance might be a more helpful way of describing this type of activity. I argue that it affords an opportunity for music to mediate the social, drawing on Small’s idea of music as sets of third-order relationships, and Bourriaud’s relational aesthetics. Third, I suggest that with the current renewed trend for performances occurring outside of cultural institutions, it is important to be mindful of the identity of a particular site, and those who have a cultural connection to it. I make reference to a series of works within my own creative practice which have explored these ideas.

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Протас, Марина. "ЗАХІДНОЄВРОПЕЙСЬКА КРИТИКА АРТ-ЕПІСТЕМИ SITE-SPECIFIC." Grail of Science, no. 29 (July 19, 2023): 418–22. http://dx.doi.org/10.36074/grail-of-science.07.07.2023.071.

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Від 1960-х років модерністська епістема «medium specific», яку обстоював Климент Грінберг, використовуючи маркером передового артизму в контексті автономної естетичної цінності новітнього мистецтва, була витиснена іншою епістемою «site-specific art», яку підтримали колишні мінімалісти й постмодерністські адепти соціополітичного активізму. Конфлікт епістемологічних цінностей спровокував активне обговорювання змін культурних парадигм як з боку незалежних аналітиків, так з боку ангажованої культуріндустрією «інтерпретаційної спільноти», примушуючи західноєвропейських науковців шукати додаткові шляхи вирішення конфронтації діатриби.

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Supendi, Eko, and Satriana Didiek Isnanta. "STUDI PENCIPTAAN KARYA SITE SPECIFIC DANCE “HELAI KERTAS”." Acintya Jurnal Penelitian Seni Budaya 12, no. 1 (July 27, 2020): 33–43. http://dx.doi.org/10.33153/acy.v12i1.3140.

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ABSTRACTDance has experienced extraordinary development. Now, dance is no longer in the area of fairies but has entered the modern civilization, the tradition is shifted to the industry and academic. This is because of the role of academic dancers who conduct the research, both creation studies and scientific studies. Dance has become the object of laboratories in the studios of art academics in Indonesia and various parts of the world, so that dance laboratories and studios have emerged in various places in Indonesia. Now dance is not only seen as practicing soul, dance is no longer limited to the beauty of aesthetic invisible , but dance also has explored other art worlds, such as theater and fine arts.Now it is difficult to distinguish between dance and theater performance. The above phenomenon often becomes a trend of artists. Art observers call it a contemporary phenomenon. Contemporary phenomena continue to develop in artists and academic world. Contemporary art is critical towards social problems around it as well as the art itself. Contemporary spirit does not only break the ice of one art discipline but also across art disciplines. Almost all elements of dance are explored and developed, one of which is site specific dance. A genre of contemporary dance that focuses on creating dance works using special places.This study uses an artistic research method. The researchers as well as the creators of site specific dance works is in the lobby of the H.U office Solopos. The research stages are in accordance with the stages of artistic research.Keywords: site specific dance, space, body, time, dance. ABSTRAK Seni tari telah mengalami perkembangan yang luar biasa. Sekarang, tari tidak lagi berada di wilayah peri-peri, tetapi telah masuk ke sentrum peradaban modern, dari kantong-kantong tradisi bergeser ke kantong-kantong industri dan akademik. Hal tersebut tidak lepas dari peran penari akademik yang melakukan riset, baik studi penciptaan maupun kajian ilmiah. Tari telah menjadi objek laboratorium di studio-studio akademisi seni di Indonesia dan berbagai belahan dunia, sehingga bermunculan laboratorium-laboratorium dan studio tari di berbagai tempat di Indonesia.Tari saat ini dipandang tidak saja berolah sukma, tari tidak lagi sebatas keindahan estetika yang kasat mata, tetapi tari sudah menjelajah dunia seni lainnya, seperti teater dan seni rupa.Sekarang sulit membedakan antara penyajian tari dan teater. Fenomena di atas sering menjadi trend para seniman individual. Kalangan pengamat seni menyebut fenomena tersebut sebagai fenomena kontemporer. Fenomena kontemporer terus berkembang dalam kalangan seniman dan lingkungan akademik. Seni kontemporer selain kritis terhadap persoalan sosial yang ada di sekitarnya juga kritis kepada seninya sendiri. Spirit kontemporer tidak hanya mendobrak kebekuan sekat –sekat satu disiplin seni, tetapi juga lintas disiplin seni. Hampir semua elemen tari dieksplorasi dan dikembangkan, salah satunya adalah site specific dance. Sebuah genre seni tari kontemporer yang fokus kepada penciptaan karya tari menggunakan tempat-tempat yang khusus.Penelitian ini menggunakan metode penelitian artistik, dimana peneliti sekaligus pencipta karya site specific dance di lobi kantor H.U. Solopos yang tahapan penelitiannya sesuai dengan tahapan riset artistik. Kata kunci: site specific dance, ruang, ketubuhan, waktu, tari.

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Kenney, Denise, and Nancy Holmes. "Site-specific performance and the art of not leaving." Choreographic Practices 9, no. 1 (April 1, 2018): 31–43. http://dx.doi.org/10.1386/chor.9.1.31_1.

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Coleman, Lucinda. "Performing Water: Site-specific dance-making as liquid art." Choreographic Practices 11, no. 1 (July 1, 2020): 101–22. http://dx.doi.org/10.1386/chor_00014_1.

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The Remnant Dance Project, Culaccini, developed site-specific dance movement in response to the waters of the Taleggio Valley, Italy, during the Nature, Art and Habitat Residency (NAHR) (2018). The intention was to respond to the Enna River system through documenting dance movement made in the region via film, photography and reflective writing. The practice-led research process was shared on the daily blog, ‘The drop of the day’. At the close of the NAHR, a short dance film, Performing Water, was made to further interrogate the nature of site-specific dance-making in water and the notion of what constitutes ‘site-dance’ in this context. In our journey of water-dance discovery, unique marks have remained on each other, the site and on things we have made, like the traces of a water vessel: culaccini. The dance made for the project was immersive and focused, constructed to invite interpretation through the use of symbolism and imagery. Progetto Culaccini sviluppa un movimento di danza site-specific in risposta alle acque dei torrenti della Val Taleggio, Italia (2018). L’intenzione è quella di rispondere al sistema del torrente Enna documentando il movimento di danza fatto sul luogo attraverso film, fotografia e scrittura riflessiva. Questo processo di ricerca guidato dalla pratica venne condiviso quotidianamente sul blog: La goccia del giorno. Al termine della residenza Natura, Arte e Habitat, la produzione di un cortometraggio di danza ha permesso l’analisi e approfondimento della danza site-specific in acqua e la nozione di ciò che costituisce la ‘danza’ in questo contesto. Nel nostro viaggio di scoperta della danza nell’acqua, segni unici rimangono impressi uno sull’altro, il luogo e le cose che abbiamo fatto, come le tracce di un vessello d’acqua: i culaccini. La danza fatta in questo contesto è stata immersiva e focalizzata; costruita per invitare l’interpretazione attraverso l’uso di simbolismo e immagini.

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Gaiger, J. "Dismantling the Frame: Site-Specific Art and Aesthetic Autonomy." British Journal of Aesthetics 49, no. 1 (January 1, 2009): 43–58. http://dx.doi.org/10.1093/aesthj/ayn058.

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Nagao, T., and Y. Fukushima. "Source- and Site-Specific Earthquake Ground Motions." Engineering, Technology & Applied Science Research 10, no. 4 (August 16, 2020): 5882–88. http://dx.doi.org/10.48084/etasr.3612.

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Seismic design is the preparation for earthquake ground motions considering the seismicity and seismic amplification properties of the ground at the target site. However, the effects of source, path, and site amplification characteristics are not sufficiently anticipated in seismic codes. Regarding the source and path characteristics, earthquakes that have the strongest influence on the target site should be considered specifically, and, concerning seismic amplification, the effects of not only a shallow subsurface but also a deep subsurface should be considered. This article takes the design spectra of Japanese highway bridges as an object and compares them with the spectra produced by a ground motion prediction equation and the source- and site-specific spectra evaluated using a state-of-the-art method. The results show that the spectra differ greatly. In this way, the necessity of the application of a state-of-the-art technique in the evaluation of source, path, and site amplification characteristics is demonstrated.

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Roberts, Margaret. "Models of Site-Related Art Practice: Critical Potential and Mobility in the Phenomenological Model of Site-Specific Art." International Journal of the Arts in Society: Annual Review 4, no. 3 (2009): 215–22. http://dx.doi.org/10.18848/1833-1866/cgp/v04i03/35656.

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Willard, Mary Beth. "When Public Art Goes Bad: Two Competing Features of Public Art." Open Philosophy 2, no. 1 (January 18, 2019): 1–9. http://dx.doi.org/10.1515/opphil-2019-0001.

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AbstractNot all public art is bad art, but when public art is bad, it tends to be bad in an identifiable way. In this paper, I develop a Waltonian theory of the category of public art, according to which public art standardly is both accessible to the public and minimally site-specific. When a work lacks the standard features of the category to which it belongs, appreciators tend to perceive the work as aesthetically flawed. I then compare and contrast cases of successful and unsuccessful public art to show that accessibility and site-specificity are features which tend to preclude the other. It is difficult, although hardly impossible, for a site-specific work to remain accessible, and difficult for an accessible work to engage adequately with the site on which it is situated. As a result, while not all public art is bad, the features peculiar to public work encourage a latent tendency toward badness.

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Strejčková, Hana. "Site-Specific Author’s Drama." Amfiteater 9, no. 2021-2 (June 30, 2022): 216–32. http://dx.doi.org/10.51937/amfiteater-2022-1/216-232.

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The article discusses the role of the playwright in contemporary site-specific drama and the role of the director of site-specific performance. The study aims at three main areas: the author’s drama based on the recent history of the 20th century; the performative potential of the commonness and of oral history; and contemporary site-specific drama. As a playwright, the author focuses on the memories of witnesses and socially taboo topics. As a theatre director, she examines approaches for transforming into theatrical language the memory of place, the collection of data from oral history and burning issues. She looks at the relations between playwrights and site-specific performance. She observes the links among the topic, communication means and non-theatrical places. This qualitative longitudinal art research is based on experience from theatre practice, analysis and comparison of theoretical knowledge. The author gives examples of authorial plays and reports on their productions, specifically stating these dramas: Midnight in the Borderland (3. and 4. 5. 1950, a monastery), Three Chairs (Alzheimer’s disease, a retirement home), From Majdalenka to Madla (World War II, cellar), Hotel on the Corner (1932–1989, old theatre building). The study emphasises the need for a creative and attentive approach by the author, playwright, dramaturg and director to create a whole new world from the duality: ordinary and taboo. It turns out that the combination of a strong theme, an unusual place tied to the topic of the drama, and the participatory role (active/passive) of the audience can be an effective strategy and even “tactic” in strengthening the role of the author in drama after the year 2000.

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Kochetkova, Ekaterina S. "Horizon as a Symbolic Category in Contemporary Site-Specific Art." Actual Problems of Theory and History of Art 10 (2020): 576–85. http://dx.doi.org/10.18688/aa200-3-51.

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Kim, Min Ji. "Study on Spatiality in Site-Specific Art and Locative Media." KOREA SCIENCE & ART FORUM 19 (March 31, 2015): 89. http://dx.doi.org/10.17548/ksaf.2015.03.19.89.

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Kuppers, Petra. "Dancing Material History: Site-Specific Performance in Michigan." TDR/The Drama Review 61, no. 3 (September 2017): 132–40. http://dx.doi.org/10.1162/dram_a_00677.

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Site-specific dance in and by Northern Michigan lakes brings Petra Kuppers experientially into a different relation to environmental materiality. Autoethnographic method merges with an attention to the materiality of art practice and the difference dance makes. It beckons: let’s merge. Dancing bodyminds in space, in change, in time. Disability, precarity, economy, indigenous and settler history. Breathe in and out with the pull of edge land, the beach, the calmness of Michigan summer lakes.

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Lin, Nancy P. "Keepers of the Waters: Experiments in xianchang art practice in 1990s China." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 325–43. http://dx.doi.org/10.1386/jcca_00032_1.

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The environmental art project, Keepers of the Waters, organized by the American artist Betsy Damon, invited artists from the United States and China to create artworks in and around a polluted urban river in Chengdu in 1995 and again in Lhasa, Tibet the following summer. The site-specific event occurred outdoors – outside institutional spaces of art – and showcased experimental performance and installation, formats that had previously been excluded from state-run museums in China due to state censorship. Although recent scholarship has examined socially engaged projects of the early 2000s that drew from global trends of social activism, relational aesthetics, and site-specificity, little work has been done on this nascent moment in the 1990s when Chinese artists began to draw connections between going outdoors, working in a site-specific manner, and advancing broader social commitments through their art. This study examines Keepers as a test site for a newly developing xianchang (on-site) aesthetic based on outdoor, site-specific engagements with social spaces. By situating Keepers within the specific historic concerns of the mid-1990s, I suspend the overly robust interpretive frameworks around art activism to uncover the nuanced ways in which xianchang art operated. As I demonstrate, the tensions and contradictions surrounding xianchang art challenge imported models on art’s social efficacy and continue to inform contemporary art practices in China into the twenty-first century.

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Rustiyanti, Sri. "Situs Megalitik Tutari sebagai Sumber Inspirasi Penciptaan Koreografi Site-Specific “Tutari MegArt Lithic”." Dance and Theatre Review 4, no. 1 (June 13, 2021): 1–9. http://dx.doi.org/10.24821/dtr.v4i1.5457.

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The Tutari Megalithic Site is a large stone age civilization site located in Doyo Lama Village, Waibu District, Jayapura Regency, Papua. Visually, on this site, there are stones with various motifs of prehistoric paintings on them. However, if it is studied in-depth, primarily through the perspective of choreography, this site has a broad potential to be a source of inspiration for creating works of art. Collaborating with previous research from the Papua Archeology Center, the creation of this Tutari MegArt Lithic artwork is focused on specific parts of the Tutari Megalithic site that can be used as inspiration for creating artworks. The method used in this writing is descriptive analysis. The purpose of this paper is to provide an overview of how choreography can collaborate across disciplines in the creation of works of art staged at the Tutari archaeological site. This paper describes the sources of inspiration for creating site-specific choreographic works of art entitled Tutari MegArt Lithic, including visual inspiration, artistic inspiration and idea inspiration.Keywords: Tutari Megalithic Site; site-specific choreography; source of inspiration; painting motive

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Lee, Su Jeong. "Feminist practice in site-specific art of Korean artists since 2000." Korean Feminist Philosophy 30 (November 30, 2018): 183–214. http://dx.doi.org/10.17316/kfp.2018.11.30.183.

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Navarro, Henry. "Fashion as public art: Strengthening communities through site-specific fashion collections." Fashion, Style & Popular Culture 1, no. 3 (August 1, 2014): 445–57. http://dx.doi.org/10.1386/fspc.1.3.445_1.

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Kim. "Encounters with the Material: Krzysztof Wodiczko and Site-Specific Media Art." Discourse 38, no. 2 (2016): 173. http://dx.doi.org/10.13110/discourse.38.2.0173.

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Hill, Leslie. "‘Push the Boat Out’: Site-Specific and Cyberspatial in Live Art." New Theatre Quarterly 14, no. 53 (February 1998): 43–47. http://dx.doi.org/10.1017/s0266464x00011714.

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As a mutually-illuminating contrast to the academic exploration in the previous article of the potential of CD-ROM as a means both of teaching a ‘classical’ playtext and of analyzing the multiple choices involved in its performance, the two following pieces explore the potential of the new technologies in the creation and documentation of live art. Focusing upon her performance Push the Boat Out, given as part of the Jezebel Season at the Institute of Contemporary Arts in 1995, Leslie Hill first outlines the thinking behind her use of the Internet and the Web – as yet more economic than CD-ROM – both for creating ‘live art’ and for rendering its conventionally ‘unprintable’ form as a ‘text’ with its own integrity. The scripted element of her performance follows. Leslie Hill is a writer and performer, currently a resident artist fellow at the Institute for Studies in the Arts, and a senior lecturer in the Theatre Department at Arizona State University. Along with Helen Paris, she is co-artistic director of the ‘curious.com’ multimedia performance company.

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Sward, Brandon. "How to make site-specific art when sites themselves have histories." Athanor 39 (November 22, 2022): 81–94. http://dx.doi.org/10.33009/fsu_athanor131122.

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The term “site-specific” is generally used to describe art self-consciously made to exist in a certain place, effectively making the site a static background for the dynamism of art. If we accept this definition, then how are we to account for the fact that sites themselves have histories? This paper addresses this question by analyzing four performances by the Chicano/a collective Asco: Stations of the Cross, First Supper (After a Major Riot), Walking Mural, and Instant Mural. Whittier Boulevard carries a portion of El Camino Real, which once connected the Catholic missions of Alta California. We know Asco was aware of this fact because a member of Asco once “used the phrase ‘el camino surreal’…to describe Whittier Boulevard as the setting where everyday reality could quickly devolve into absurdist, excessive action.” Contextualizing these performances within the geography of colonial California challenges interpretations of Asco as merely opposing contemporaneous events like the Vietnam War and gentrification, whereas Asco had a more nuanced and expansive understanding of oppression linking the Latin American diaspora. Together, these performances show us how a group contests domesticating and folklorizing stereotypes. Although preexisting scholarship explains these gestures as “protest art,” situating them against Whittier Boulevard allows us to appreciate the radicality of Asco. By engaging with Catholic and muralist imagery, Asco draws parallels between their experience as racial minorities and the history of Latin American colonialism, which highlights both the composite nature of Chicano/a identity and how artists might make site-specific work when sites themselves have histories.

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Babb, Genie. "Center and Edge of the World: Frontiers of Site-Specific Performance in Alaska." TDR/The Drama Review 52, no. 3 (September 2008): 61–78. http://dx.doi.org/10.1162/dram.2008.52.3.61.

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Chicago performance artist and educator Brian Jeffery staged Look Again 2002: Alaskan Landscapes in Transition, comprised of six site-specific performances and numerous related events. Like other performance art works at the turn of the 21st century, Look Again exemplifies a shift from an artist-centered conception of art to one that is more audience-centered.

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Chu, Lin Ya, and Min Lee. "The Role of Site-specific Art in Public Spaces in Rural Areas of Japan: A Case Study on the Convergence of Site-specific Art and Regional Regeneration." Korean Society of Science & Art 39, no. 5 (December 31, 2021): 427–42. http://dx.doi.org/10.17548/ksaf.2021.12.30.427.

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Kwon, Miwon, Rízzia Rocha, and Anna Luiza Coli. "site à comunidade no novo gênero de arte pública." PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG 13, no. 28 (August 1, 2023): 7–30. http://dx.doi.org/10.35699/2238-2046.2023.45740.

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No quarto capítulo de seu livro One place after another: site-specific art and locational identity, Miwon Kwon analisa atentamente o projeto Culture in Action: new public art in Chicago, que aconteceu na década de 1990, construindo uma importante relação entre o desenvolvimento das práticas artísticas site-specific e o novo gênero de arte pública.

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Pavoni, Andrea. "Speculating on (the) urban (of) art: (un)siting street art in the age of neoliberal urbanisation." Horizontes Antropológicos 25, no. 55 (December 2019): 51–88. http://dx.doi.org/10.1590/s0104-71832019000300003.

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Abstract This paper addresses the current co-optation of street art into an uncritical aesthetic supplement to the process of neoliberal urbanisation, by focusing on its unresolved relation with its own site. This is done in three steps. First, via a perambulating immersion into the complexity of a specific site. Second, via a critical engagement with the form and politics of contemporary street art. Third, via a strategic speculation on the relation between the notions of art, urban and site. Street art’s current impasse, I argue, paradoxically depends on its incapacity to become properly urban. A urban-specific street art, I contend, is not a decorative veneer nor an enchanting disruption to dramatic processes of urbanisation: it is a force-field in which these processes are made visible, experienceable, and thus called into question. The ‘Olympic’ works of JR and Kobra in Rio de Janeiro, and the iconoclastic performance by Blu in Berlin, are used to illustrate and complement the argument.

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Jina Kim. "Rereading Womanhouse (1972): A Pioneer of Feminist Art and Site-specific Installation." Journal of Humanities, Seoul National University 75, no. 3 (August 2018): 173–220. http://dx.doi.org/10.17326/jhsnu.75.3.201808.173.

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Townsend, S. "Book Review: One Place after Another: Site-Specific Art and Locational Identity." Visual Communication 4, no. 3 (October 1, 2005): 372–75. http://dx.doi.org/10.1177/1470357205056749.

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Chagas, Deivisson Dias. "A QUESTÃO DO ESPAÇO E A ENUNCIAÇÃO DO SUJEITO NO TRABALHO DE DANA AWARTANI / The issue of space and the enunciation of the subject in the work of Dana Awartani." arte e ensaios 26, no. 39 (August 15, 2020): 107–19. http://dx.doi.org/10.37235/ae.n39.9.

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O presente artigo analisa a questão do processo colonial e de subalternização problematizado na obra “I went away and forgot you. A while ago I remembered. I remembered I’d forgotten you. I was dreaming”, da artista saudita Dana Awartani. Misto de site specific e registro fílmico de performance, o trabalho dialoga com a insurgência de novos sujeitos na produção de arte contemporânea, denominados por Gayatri C. Spivak de “sujeitos subalternos”, e com as mudanças ocorridas entre as décadas de 1960 e 1990 em torno do conceito de site specific, como teorizado pela crítica de arte Miow Kwon.Palavras-chave: Site-specific; Performance; Sujeito; Subalternidade.AbstractThis paper analyzes the issue of space and the colonized subject in the work “I went away and forgot you. A while ago I remembered. I remembered I’d forgotten you. I was dreaming”, by saudi artist Dana Awartani. Mixed with site specific art and filmic performance record, the work dialogues with the insurgency of new subjects in the production of contemporary art in contexts against hegemonic and critical subalternity, as well as with the changes that occurred from the 1960s to the present day in around the concept of space specificity.Keywords: Site specific art; Performance; Subject; Subalternity.

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Matejić, Bojana. "The conjunction of art and life: Ontology of the site." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 223–30. http://dx.doi.org/10.5937/saj1502223m.

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Art becoming life and its relative convergence to the ideality of autarky (aὐtάrceia), implies a maxim which coincides with the emancipatory promise of Art. NEO-Marxist authors have prescribed this maxim to Marx's early works, particularly to the thesis from his Economic and Philosophic Manuscripts of 1844, and elaborated it further on these grounds. This maxim has been applied by many avant-garde movements up to the contemporary moment: Bertold Brecht's political theatre, Guy Debord's situationism, site-specific art, fluxus, Joseph Beuys's social sculpture, etc. The common denominator of all these avant-garde practices is the imperative of an affirmation of their use-value - their realisation at the site of their own production, as opposed to the abstractness of their placement in the world. The site of this production is the site of the very production of sociability. Accordingly, the aim of this paper is to examine the maxim art becoming life in the wake of Badiou's ontology of the site by using the example of the modality of site-specific works in the conditions of contemporaneity.

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김영옥. "Site-Specific Art Practices as Intervention in the Era of Globalization: Focused on Two “Dongducheon” Art Projects." Women's Studies Review 27, no. 1 (June 2010): 73–109. http://dx.doi.org/10.18341/wsr.2010.27.1.73.

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Payne, Daniel. "Exhibiting information literacy: site-specific art and design interventions at the Ontario College of Art & Design." Art Libraries Journal 33, no. 1 (2008): 35–41. http://dx.doi.org/10.1017/s0307472200015200.

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The Ontario College of Art & Design is a university that provides undergraduate education to a markedly diverse student body. Although the Dorothy H. Hoover Library offers proactive information literacy programming targeting academic research needs, only peripheral support was traditionally given to studio practice. To rectify this gap the reference librarians, in dialogue with selected design and art faculty, endorsed a Library exhibition program using the Library as both case study and exhibition site. An analysis of several works featured in a recent exhibition demonstrates how art can establish an eloquent dialogue with a visually-oriented learning community and lead to the examination of key philosophical and ethical issues in librarianship.

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Daugherty, Jay. "Our Land, Our People: A Reflection of Tibetan Buddhist Space in Contemporary Art." HIMALAYA 40, no. 2 (November 15, 2021): 50–58. http://dx.doi.org/10.2218/himalaya.2021.6589.

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This article illustrates how a contemporary Tibetan artist disrupts expectations in the creation of his political art. Utilizing Robert Smithson’s dialogic of site and non-site, Tenzing Rigdol’s 2011 site-specific installation Our Land, Our People is interpreted as a reenactment of a culturally specific historical practice of moving space. This approach shares important similarities to historical cases in which physical spaces were relocated to and within Tibet, allowing for the application of 20th century theories arising in the spatial turn to contemporary Tibetan art.

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Hauna, Miftakhul, and Silvester Pamardi. "New Site-Specific Dance: a New Style of Intelligent Bodies." Journal of Social Research 2, no. 8 (August 9, 2023): 2835–50. http://dx.doi.org/10.55324/josr.v2i8.1365.

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The development of works of art born by extraordinary people is increasingly here, giving birth to new styles born from the corner of space outside conventional stage spaces. This phenomenon began to arise starting with the ideas of art criticism of conventional stages, after which several works were born that began to be performed outside conventional stages. Dance is one of the objects explored in artists' creative spaces, including academic spaces, so that the process of the creative space is born dance works with a new identity based on the development of science and technology. Dance that was born in the context of a special space is called Site Specific Dance, which is a dance work born from the journey of the process to a special location. Where this process targets the dancer's knowledge of space, time, and audience. Architecture, atmosphere, or others from one region that if inspired by the creator of the work, then will be explored how the intelligences of the body are in a special scope that has been chosen. This research uses the 3R method by Eko Supriyanto, Re-Invitating, Re-Questioning, Re-Interpretating, then the results of the research will be processed using the Site Specific Dance method, after which it is presented in a place that has been engineered with special decorations and contradictions to the previous area or location which is used as a process with the Site Specific Dance method. The target of this study is a kind of new presentation style of the Site Specific Dance process.

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Pilcher, Jeremy. "Network Art Unbound?" Leonardo 45, no. 5 (October 2012): 470–71. http://dx.doi.org/10.1162/leon_a_00447.

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Internet art that visualizes data has art historical precedents that invite its critical effect to be engaged with as rhetoric and not only an accurate representation of a specific state of affairs. Art that opens an engagement with a representation of data as an iteration of an underlying system invites an awareness of the contingency of that system. The nature of the internet makes it an effective site for this to occur. Internet art may allow an awareness of how a system might become more ethical in the future.

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Sarkar, Asmita. "Ecology of site-specific painting and drawing: Embodied and empathic mark-making in urban cites." Visual Inquiry 10, no. 1 (June 1, 2021): 13–30. http://dx.doi.org/10.1386/vi_00023_1.

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The idea of ecology has changed drastically during the last few decades. The trend in scholarship has changed from exclusively studying nature and natural objects, to include human’s relationship to it. In this context the present article aims to look at the ecological implication of site-specific practice: concentrating on contemporary drawing and paintings realized in the context of urban India. To this aim some aspects of site-specific mark-making would be analysed seeking support from philosopher Merleau-Ponty’s (1993, [1945] 2008) idea of phenomenological embodiment and the theory of ecological perception proposed by psychologist Gibson (1966, 1972). Works of contemporary drawing/painting practitioners from India, practitioners such as Gagan Singh, artist collectives such as Networks and Neighborhood, St+art, Geechugalu, along with author’s own practice will illustrate how site-specific pattern-making can be a way of interacting with the environment, establishing new connections between art-materials, the environment, the viewers and the makers. These analyses will bring insights into how art practice can contribute to new ways of conceptualizing urban ecology.

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Han, Jung-Mi. "A Study on the Expansion of Public Art to Dance -Based on Site Specific Dance Performance." Dance Research Journal of Dance 78, no. 3 (June 30, 2020): 217–30. http://dx.doi.org/10.21317/ksd.78.3.12.

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Scarfone, Amy. "One Place After Another: Site-Specific Art and Locational Identity by Miwon Kwon." Rhetoric Society Quarterly 37, no. 2 (March 29, 2007): 209–12. http://dx.doi.org/10.1080/02773940701266106.

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Zaffi, Leonardo, Antonio Capestro, and Stefania Viti. "Code-compliant structural design for site specific works of art: a case-study." Procedia Structural Integrity 29 (2020): 157–64. http://dx.doi.org/10.1016/j.prostr.2020.11.152.

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Doss, Erika. "Public Art, Public Feeling: Contrasting Site-Specific Projects of Christo and Ai Weiwei." Public Art Dialogue 7, no. 2 (July 3, 2017): 196–229. http://dx.doi.org/10.1080/21502552.2017.1343612.

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Caldarola, Elisa. "Architecture and Sites." Croatian journal of philosophy 21, no. 61 (May 21, 2021): 5–23. http://dx.doi.org/10.52685/cjp.21.1.1.

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Several contemporary architects have designed architectural objects that are closely linked to their particular sites. An in-depth study of the relevant relationship holding between those objects and their sites is, however, missing. This paper addresses the issue, arguing that those architectural objects are akin to works of site-specific art. In section (1), I introduce the topic of the paper. In section (2), I critically analyse the debate on the categorisation of artworks as site-specific. In section (3), I apply to architecture the lesson learned from the analysis of the art debate.

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Kloetzel, Melanie. "Site and Re-Site: Early Efforts to Serialize Site Dance." Dance Research Journal 49, no. 1 (April 2017): 6–23. http://dx.doi.org/10.1017/s0149767717000018.

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In this article, I investigate the historical precedents of site-adaptive dance. After walking through the mobility discourse as applied to site-specific art by such scholars as Miwon Kwon, Fiona Wilkie, and Victoria Hunter, I examine the mobile site works of North American choreographers Ann Carlson, PearsonWidrig DanceTheater, Eiko & Koma, and Stephan Koplowitz as exemplary of early attempts to take site dance on tour. Finally, I argue for the value of employing the lens of adaptation to analyze such works, both for the field of site performance and for the larger cross-disciplinary dialogues that could be activated.

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Cheng, Meiling. "Cyborgs in Mutation: osseus labyrint's Alien Body Art." TDR/The Drama Review 45, no. 2 (June 2001): 145–68. http://dx.doi.org/10.1162/105420402760157736.

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This California-based company, founded in 1989, stages high-risk site-specific performances. Somewhere between sci-fi movies and extreme body art, the work of osseus labyrint takes place on the edges between art, ecology, and biology.

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Vanderpool, Jennifer. "Growing a Social Art Practice." Latin American and Latinx Visual Culture 6, no. 3 (July 1, 2024): 3–19. http://dx.doi.org/10.1525/lavc.2024.6.3.3.

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This article discusses the development of my post-studio, community-specific, site-responsive, socially engaged art practice as a method of creative research intersecting working-class, performance, and Latin American studies perspectives to discuss floriculture laborers and their work in Bogotá, Colombia, and Cayambe and Quito, Ecuador. I address my creative process as a Los Angeles–based artist laborer, facing the challenges of creating working-class transnational exhibition narratives and exploring the coproduction of community engagement exhibitions.

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Journal articles on the topic 'Site-specific art'

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