2008. február 13., szerda

The Gallery or The Street











The top eight photographs were taken in a courtyard outside Csendet Kerunk. The artwork was all anonymous . The ninth photograph down is of Vaszary Janos's Nude in Studio taken at the Hungarian National Gallery. The final photograph is part of a public design project 'Design a Cow' and was found in the commercial district of Budapest.

We have included these photographs as a consideration of the differences between public and private art. We want to make our art public because it is more exciting when you bump into art. When art is displayed in a gallery context, such as the Vaszary exhibition, it is only going to be seen by a select audience, people who have chosen to view it in this environment. Street art however is more accessible and open to a much wider spectrum of people. We believe that art should have complex thinking behind it but be presented in a simple way so that it is not inaccessible. Many people are put off by the stigma attached to galleries and are therefore less inclined to make the effort to visit them. The gallery environment is often sterile and silent, and appeals to a majority audience of middle class, educated people. Art should be more widespread, free from constraints and inclusive. You should not need an invitation to see it. If art is displayed publicly in the street or in parks or on buildings then it is unavoidable and thus has the potential to be more confrontational and have more of an impact.

We are interested in creating public art as part of our project. So far we have explored this in a very subtle way but we would like to be more blatant with our ideas and creative actions. This is more than art; it is part of a movement to invade consciousness and challenge existing ideology and stereotypes surrounding creative thinking and methods of display.

1 megjegyzés:

shaun írta...

Hi Laura and Angus

This is something of a manifesto, in terms of the context within which the work is placed. What you are saying is something of a 'fluxus' ideal. What is interesting when work is placed outside of the gallery context, there is a degree of ambiguity as to whether what it is that we are encountering. This ambiguity creates a dialogue within the work, to such a degree, that it might be used to serve as a critique of the gallery context. You provide us with images of graffiti, and after all, what was graffiti originally if it was not an act of protest - of critique. All of this is interesting, and your viewer is more likely to participate in the work out of the gallery context. But it remains to be seen just what this work. You have arrived at the broad concepts, and at the context - what about the process?