Do it / Participation and Community Based Art

Community art is artistic activity that is based in a community setting, characterised by interaction or dialogue with the community and often involving a professional artist collaborating with people who may not otherwise engage in the arts. Some of the most innovative art of the past decade has been created far outside conventional galleries and museums and its these types of art that have began to create the most social change with in and outside gallery. From reading books like ‘conversation piece’ I have begun to understand the different types of no conventional art that exists and bring together people for all background. Often this stems from a desire to create new forms of understanding through creative dialogue that crosses boundaries of race, religion, and culture.

Within my work I want to explore ideas of creating small communities that are coming together to remove isolation, but selfishly this is mostly a goal for myself and many others look past this and just see it as an gathering to have fun and relax in but that is also a great success and goal for my practice.

Related to this is the role of audicane and non artists with in performance and community art as using instructions is a easy way in invite audience menebers to partake without seeming so intimidating towards them. Therefore I have begun looking into artist instructions, there role within performance and the function of audience participation with in art focusing on the books ‘Do it’ and ‘Participation’.

‘Do it’ curated by Hans Ulrich Obrist, do it began in Paris in 1993 as a conversation between Obrist and the artists Christian Boltanski and Bertrand Lavier. Obrist was concerned with how exhibition formats could be rendered more flexible and open-ended. This discussion led to the question of whether a show could take “scores,” or written instructions by artists, as a point of departure, each of which could be interpreted anew every time they were enacted.

Using the book do it I have decided to expand on my previous rules of using the music scrolls as scrips and delve into more specific rule on collaboration and conversation. Firstly I am starting off with small private performances focusing on the viewer becoming the artist within the work. I plan on using my sound scapes and sitting down with one viewer at a time and with in my sketch book creating our own visual sounds together. Creating the work in the sketch book allows a more intimate and personal creative process and the setting will allow conversation and connections between the artist and view to take place.


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