Art As Adventure : Going Beyond [1 ed.] 9781527514430, 9781527502970

Citation preview

Art as Adventure

Art as Adventure: Going Beyond Edited by

James P. Werner and Rosemary O’Neill

Art as Adventure: Going Beyond Edited by James P. Werner and Rosemary O’Neill This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by James P. Werner, Rosemary O’Neill and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0297-X ISBN (13): 978-1-5275-0297-0

Table of Contents

Introduction ................................................................................................... 1 Rosemary O’Neill and James P. Werner Christoph Fink’s Atlas of Movements: Between Cartography and Poetry .... 3 Rosemary O’Neill Water Links: Uncovering Authentic Community Narratives through Participatory Media Art ................................................................. 19 James P. Werner Digging Historical Narratives from the Global Surface: Allan Sekula’s Fish Story ........................................................................... 38 Sunhee Jang The Artist Explorer: FormLaboratory—A Model for Geographically Dispersed Artist Exploration....................................................................... 52 Les Joynes Towards an Impossible Summit: The Journey as Decoy in the Work of Pierre Huyghe ......................................................................................... 76 Amelia Barikin Art as Pilgrimage, Journey of Prayer and Sanctuary .................................. 94 Jawshing Arthur Liou


Contributors .............................................................................................. 115




Introduction Rosemary O’Neill and James P. Werner

The artist-traveler has historically followed political, economic, and cultural expansion. The role of artist as witness, reporter, geographer, collecWRUDQGHGXFDWRUH[HPSOL¿HVWKHVLJQL¿FDQFHRIPRELOLW\JHRJUDSKLFDQG cultural mediation in the productions of art/visual culture, and the critical questions raised as a result. In contemporary art, especially as the result of JOREDOL]DWLRQVRPHDUWLVWVDUHVHHNLQJRXWUHPRWHH[SHULHQFHVDVW\SL¿HG E\3LHUUH+X\JKH¶V$QWDUFWLFMRXUQH\DGDSWHGIRUWKHSURGXFWLRQA Journey that Wasn’t 6LQFHPDQ\DUWLVWVKDYHZRUNHGLQVLWXLQFROODERUDtion with local populations, or translated travel experiences from remote ORFDWLRQV7KHDLPRIWKLVSXEOLFDWLRQLVWRSRVHTXHVWLRQVDERXWWKLVSKHQRPHQRQDQGKRZWKHVHH[SHULHQFHVDUHFRQFHSWXDOL]HGDQGUHFRQVWUXFWed through reproductive mediums, installations, or documentary formats in contemporary art case studies. Moreover, the intention is to question ZKHWKHUDUWLVWV¶DGYHQWXULQJWRUHPRWHVLWHVFDQLQLWVHOIFRQVWLWXWHDIRUP of conceptual art with underlying aspirations for unfamiliar, isolated, and spatial experiences. The artist as traveler has deep historical precedents as contemporary DUWSURGXFWLRQWRGD\7KHH[SDQGHG¿HOGRIDUWRIWKHODWHVKDVJRQH EH\RQG WKH PRQXPHQWDO DQG VSDWLDOO\ DHVWKHWLF LQVLWX ZRUNV RI 5REHUW 6PLWKVRQ:DOWHUGL0DULD1DQF\+ROW-DPHV7XUUHOODQGRWKHUVVKLIWLQJWR DUHFRQFHSWXDOL]DWLRQRIWKHH[SHULHQFHRIPRELOLW\UHPRWHQHVVVSDWLDOH[SHULHQFHVPDQLIHVWLQUHVHDUFKSXEOLFDWLRQVFROODERUDWLYHH[KLELWLRQVDQG WHFKQRORJ\WREULGJHIDUÀXQJSODFHV7RZKDWGRZHDWWULEXWHWKHVHHNLQJ RXWRIUHPRWHORFDWLRQV"$QGKRZGRHVRQHGH¿QHWKHQRWLRQRIDGYHQWXUH DQG UHPRWHQHVV ,Q WKH  H[KLELWLRQ Wish you were here: The Art of Adventure, curator Cathleen Chaffee notes the root of adventure in advenire RU³WRKDSSHQ´DPRWLYDWLRQFRQQHFWHGZLWKFLUFXODWLRQDQGWKHSRVVLELOLW\ RIWUDQVSLULQJHYHQWV:KLOHWKH5RXQGWDEOH³5HPRWH3RVVLELOLWLHV´ DUWLVW 3LHUUH +X\JKH VWDWHV WKDW ³WKH LVVXH RI WKH UHPRWH SODFH LV QRW H[DFWO\WKHSRLQW´5DWKHULWLVD³GLVSODFHPHQW´QRWQHFHVVDULO\LQORFDWLRQ EXWPRUHDERXWWKH³SURGXFWLRQVRIVLWXDWLRQVDQGFRPSOH[KHWHURJHQHRXV

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Introduction

WHUULWRULHV´2U-DQ%DV$GHU¶VWUDYHOTXHVWVWRH[SORUHWKHUHODWLRQVKLSRI WKHVHOIWRWKHZRUOG7KHVHSHUVSHFWLYHVHDFKUHÀHFWDZLOOLQJQHVVWRSUHVHQWDQH[SHULHQFHRISODFHWRRWKHUVDQGDOORZIRUWKHVHQVHRISODFHWREH SURGXFHGLQQHZDOWHUQDWLYHFRQWH[WVRUHYHQPDQLIHVWDVDUHÀHFWLRQRQWKH self in relation to others and places experienced. ,Q ³0DSSLQJ DQG WKH H[SDQGHG )LHOG RI &RQWHPSRUDU\$UW´ :\VWDQ &XUQRZ DWWULEXWHV WKH SKHQRPHQRQ RI WUDYHO DV D FRQWHPSRUDU\ WKHPH WR VLJQL¿FDQWSROLWLFDOVKLIWV±WKDWLVJOREDOL]DWLRQEXWDOVRWRWKHGHVLUHRI VRPH DUWLVWV WR JLYH D YRLFH WR WKH VLOHQFH RI WKH URDG DWODV$UWLVW 5XWK Watson has written in a special issue of The Cartographic Journal titled, ³$UWDQG&DUWRJUDSK\´WKDW³PDSSLQJLVRXUPRVWFRPPRQSODFHPHWDSKRU WRGD\ZLWKVRPHH[KLELWLRQVRQWKHVXEMHFWEHWZHHQDQG± WKHVHLQFOXGH5REHUW6WRUU¶V0R0$H[KLELWLRQMapping focused on WKHLFRQRJUDSK\WRGD\WR1DWR7KRPSVRQ¶VH[KLELWLRQExperimental Geography which teases out the issue of art as geography and geography as DUWVLWXDWLQJWKLVZRUNDVDVRFLDODQGSROLWLFDOSUDFWLFHWR2NZXL(QZH]RU¶V locating contemporary art “in an age of permanent transition” DFNQRZOHGJLQJYROXQWDU\DQGLQYROXQWDU\PLJUDWLRQV´$VWKHURDGDWODVHYROYHVLQWR HYHU FKDQJLQJ GLJLWDO YLVXDOL]DWLRQV WKHUH LV FRQVLGHUDWLRQ IRU JHRJUDSK\ DQG FDUWRJUDSK\ EH\RQG WKH PDS UHODWLYH WR WKH SHUVSHFWLYHV LQKHUHQW LQ MRXUQH\V IDFLOLWDWHGE\ GLJLWDO PDSSLQJ DQG WKH YLVXDO UHFRUGLQJV WKDW DUH woven into new technological ways of recounting the adventure. 6RZKDWDUHVRPHRIWKHSUDFWLFHVWKDWFRQVWLWXWHJHRJUDSKLFPRELOLW\" +RZGRHVWKHQRWLRQRI³JRLQJEH\RQG´DOORZIRUWKLQJVWRKDSSHQ":KDW DUHWKHKLVWRULHVDQGFRQWH[WVHPHUJHQWZLWKLQWKLVSURFHVV"+RZDUHWKHVH FRPSOH[LWLHVUHSUHVHQWHGZKHQRQHKDVQ¶WH[SHULHQFHGWKHUHPRWHRURXWRI WKHZD\"+RZGRWKHVHH[SHULHQFHVOLQNSODFHDQGPHPRU\"7KHIROORZLQJ FKDSWHUVDGGUHVVWKHVHLVVXHVQRWLQDFKURQRORJLFDOPDQQHUEXWUDWKHULQUHODWLRQWRWKHDUWLVWLFSUDFWLFHWKHUROHRIUHVHDUFKWKHH[SHULHQFHRIPRELOLW\ documentation, and notions of remoteness. The methods and outcomes of HDFKDUWLVWUHSUHVHQWHGKDYHFRPPRQJRDOVWRUHYLVXDOL]HDQGWUDQVSRUWRQH QRWLRQRISODFHWRDQRWKHU$VDJOREDOFRPPXQLW\HPHUJHVLQWKHSUHVHQW HDFK RI WKH SUDFWLFHV GLVFXVVHG LQ WKLV ERRN XWLOL]HV VRPH IRUP RI PHGLD UHOHYDQW WR IUDPLQJ D UHGXFHG EXW SRLJQDQW VHW RI FKDUDFWHULVWLFV DERXW D SDVWMRXUQH\DQGSODFH,QWKLVSURFHVVWKHVHSUDFWLWLRQHUVDUHUHGHVLJQLQJ WKHH[SHULHQFHRIDMRXUQH\DVDWUDQVSODQWHGHYHQWDNLQWRD'LRQ\VLDQUHproduction, merging artist interpretation with a quite physically virtual rendition. This production of situation and sometimes frame of mind, frames WKHVHRXWVLGHUV¶PHPRULHVRIXQIDPLOLDUWKLQJVIRUWKHPVHOYHVDQGWKHDXdience, representing unique and revealing constructions of distant realities.

Christoph Fink’s Atlas of Movements: Between Cartography and Poetry Rosemary O’Neill

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WLRQVKLSDPRQJPXOWLSOHIRUFHVEXWLWLVDOVRDPHDQVWKDWPDQLIHVWVSRZHU FDSDEOHRIH[FOXVLRQDQGUHSUHVVLRQ Moreover, for Foucault, individuals are the vehicles of power, not the points of application.20+RZHYHU6HNXOD¶V text in Fish StoryIXQFWLRQVWRDVNWKHYLHZHUWRREWDLQDQDXWRQRPRXVVXEMHFWLYLW\UDWKHUWKDQEHLQJVXEPHUJHGDVDYHKLFOHRISRZHU$V,KDYHGLVFXVVHGWKHYLHZHU¶VSURFHVVRILGHQWLI\LQJWKHFDSWLRQVSDUDOOHOVWKHSURFHVV RIUHVFXLQJWKHQHJOHFWHGNQRZOHGJHDERXWWKHIXQFWLRQRIORFDOVLQJOREDOL]DWLRQ$OVR ZKHQ WKH YLHZHU HQFRXQWHUV WKH LOOHJLEOH RU LQGHFLSKHUDEOH VLJQL¿HUVDQG¿OOVWKRVHHPSW\SDUWVZLWKWKHGHVFULSWLRQVDERXWDORFDOFLW\ 8OVDQ6RXWK.RUHDKHRUVKHREWDLQVNQRZOHGJHDERXWZKDWWKHREVFXUHG HQWLWLHVWKDWRSHUDWHJOREDOLVWSRZHUDUH².RUHDQchaebol, patriarchy, and $PHULFD¶VLQWHUYHQWLRQLVP $OWKRXJK6HNXODKDVGHPRQVWUDWHGKLVLQWHUHVWVLQ)RXFDXOW¶VFRQFHSWV RISRZHUDQGNQRZOHGJHVLQFHKLVHDUO\FDUHHUIRUH[DPSOHLQKLVHVVD\ The Body and the Archive  he does not mention them in Fish Story. ,QVWHDGKHGLVFXVVHV)RXFDXOW¶VFRQFHSWRIKHWHURWRSLDLQWKHVHFRQGSDUW RI WKH VHFRQG HVVD\ ³3KDQWRP 0XWLQ\´ 2QH RI WKH UHDVRQV WKDW 6HNXOD UHIHUHQFHV)RXFDXOW¶s Of Other Spaces VWHPVIURPWKHIDFWWKDWKLV writing focuses directly on a ship at the very end of the last sentence: “The VKLSLVKHWHURWRSLDSDUH[FHOOHQFH,QFLYLOL]DWLRQZLWKRXWERDWVGUHDPVGU\ XS HVSLRQDJH WDNHV WKH SODFH RI DGYHQWXUH DQG WKH SROLFH WDNH WKH SODFH of pirates.”22)RU6HNXOD¶VLQWHUSUHWDWLRQRI)RXFDXOWWKHWHUPheterotopia means relations between sites as a revolutionary network,23 DQG 6HNXOD¶V text in Fish StoryDVVLVWVWKHYLHZHUWRWDNHDERDWWRVHHNIRUVXFKKHWHURWRSLDDQGUHVLVWJOREDOLVWSRZHU



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Michel Foucault, “Of Other Spaces,” DiacriticsYRO1RWUDQV-D\0LVNRZLHF6SULQJ :KHQ6HNXODWUDQVIHUVWKHTXRWDWLRQWRFish Story, he excludes the sentence, “The ship is heterotopia par excellence.” $OODQ6HNXODFish Story

23

The Artist Explorer: FormLaboratory— A Model for Geographically Dispersed Artist Exploration Les Joynes

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Figure 4–1: Video still of Les Joynes in Shapeshifter 2014. HD video of performance at Mongolian Siberian border region.

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,QDZRUOGLQFUHDVLQJO\KRPRJHQL]HGDQGÀDWWHQHGWKURXJKWUDYHODQGPHdia interconnectivity, geographically dispersed art exploration now generDWHVDQHPHUJHQWFRQFHSWXDOIURQWLHU,QWKLVFKDSWHU,LQWURGXFH)RUP/DEoratory, my ongoing studio research and exploration series through which I experiment with new forms of dialogue, unfamiliar sites, cultures, materials and processes. 7KHRXWFRPHVRI)RUP/DERUDWRU\¶VH[SHULPHQWVDQGUHVHDUFKWDNHYDUious forms including video, performance, museum installation and experiPHQWVLQ6mR3DXOR DQG0RQJROLD 7KLVFKDSWHUVHUYHV DVDJXLGHWRWKHLQWHUGLVFLSOLQDU\ZRUN,KDYHHPEDUNHGRQRYHUWKH\HDUV and illustrates some of my insights from the perspective of artist and explorer. 7KLVFKDSWHULQWURGXFHV)RUP/DERUDWRU\WKURXJKLWVFRQFHSWXDOGHYHORSPHQWDVDPRELOHH[WHQVLRQRIP\VWXGLRDQGJLYHVH[DPSOHVRIUHFHQW LWHUDWLRQV LQ %UD]LO DQG 0RQJROLD $V DQ RQJRLQJ DUWV UHVHDUFK SURMHFW )RUP/DERUDWRU\ EXLOGV XSRQ P\ GRFWRUDO UHVHDUFK DW /HHGV 0HWURSROLWDQ8QLYHUVLW\8.3K' SRVWGRFWRUDOUHVHDUFK DWWKH 6FKRRORI&RPPXQLFDWLRQDQG$UWV8QLYHUVLW\RI6mR3DXOR%UD]LODQG DVD9LVLWLQJ)HOORZ DWWKH5HVHDUFK&HQWUHIRU7UDQVQDWLRQDO$UW ,GHQWLW\DQG1DWLRQ8QLYHUVLW\RIWKH$UWV/RQGRQ Exploring the unfamiliar. Why explore? 76 (OOLRW ZULWHV ³([SORUDWLRQ ZLOO EH WR DUULYH ZKHUH ZH EHJDQ DQG WR NQRZWKHSODFHIRUWKH¿UVWWLPH´([SORUDWLRQFUHDWHVDQRSSRUWXQLW\IRU the artist to encounter the unfamiliar, to learn, and evolve. Through a geographically-dispersed artist practice, I challenge myself in each new location through the adoption of new processes, materials, and XQIDPLOLDU WUDGLWLRQV ([SORUDWLRQ DQG H[SHULPHQWDWLRQ ZLWKLQ XQIDPLOLDU FRQWH[WV IRUFHV PH WR PDNH P\ SUDFWLFH UHDFWLYH FUHDWLQJ QHZ FRPELQDWLRQVDQGDSSURDFKHVWRDUWPDNLQJ $V D 6RXWKHUQ &DOLIRUQLD QDWLYH , EHJDQ LQ WKH V FROOHFWLQJ DQG SKRWRJUDSKLQJIRXQGREMHFWVRIIEHDFKHVIRUHVWVDEDQGRQHGFRQVWUXFWLRQ VLWHVDQGÀHDPDUNHWV7RPHWKH\UHSUHVHQWHG³OLYLQJLQVWDOODWLRQV´XQLQWHQWLRQDO DVVHPEODJHV DQG DUUDQJHPHQWV RI REMHFWV LQ QHLJKERUKRRGV private gardens, two-car garages and constructions sites. With my camera, I captured slices of the small-town topographies that mirrored the community. :LWKDVWLOOFDPHUD,GLVFRYHUHGWKDW,FRXOGIUHH]HPHPRU\LPPRUWDOL]LQJ 

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7KHUHLVWKHULVNKRZHYHUWKDWDUWPDNLQJLQUHPRWHORFDWLRQVZLOOVLPSO\ fall into the tropes of how we look at the unfamiliar (i.e. in museums of natural KLVWRU\DQGFDELQHWVRIFXULRVLW\ 0XVHXPVSDUWLFXODUO\PXVHXPVRIQDWXUDO history, have often phrased (displayed) nature in a way that stages the moment RIZRQGHURIGLVFRYHU\GLVFRYHULQJDSULGHRIOLRQVLQWKH$IULFDQVDYDQQDK IRUH[DPSOH 7KHXQNQRZQLVWKHUHE\SUHVHQWHGLQQRFXRXVO\EHKLQGSODWHJODVV ZLWKWD[LGHUPLHGOLRQV±REMHFWVWKDWVWXWWHUEHWZHHQUHDOGDQJHURXV DQGXQreal (safe). ([KLELWLRQVRIWHQSUHVHQWDUWZLWKLQFHUWDLQQRUPV±RIWHQLQZD\VZKLFKWKH DXGLHQFHFDQDFFHVVDQGH[SHULHQFHDVHQVHRIDWWUDFWLRQWRDZRUNRIDUWDVHQVH RIZRQGHUDQGDVHQVHRIVXUSULVHDQGWKHXQH[SHFWHG$VDQDUWLVW,DPXVLQJ exploration and disruptions of the familiar as a way of re-examining how I creDWHDUW,VWKHDUWLVW¶VGHVLUHIRUH[SORUDWLRQDUHVSRQVHWRDJOREDOL]LQJFXOWXUH" %\FHDVHOHVVO\FUHDWLQJQHZFRQQHFWLRQVJOREDOL]DWLRQÀDWWHQVDQGKRPRJHQL]HVWKHZRUOG+RPRJHQL]DWLRQUDLVHVWKHVWDNHVIRUWKHH[SORUHUWRHQFRXQWHU VRPHWKLQJQHZDQGQRYHO(YHU\ERG\QRZFDQEHDQH[SORUHUERRNLQJLQDQ LQVWDQWDSDFNDJHWRXUWR0RXQW(YHUHVWRUKDYLQJWKHFDSDELOLW\WRDFFHVVDQG YLVLWLQGLJHQRXVFXOWXUHVLQ6RXWK$PHULFDIRULQVWDQFH$VGLVFRYHUHUVRIQHZ signs, artists are increasingly travelers constructing new semiotic connections with new materials, processes, and discourses on art. $V&DURO%HFNHUZULWHV ³$UWLVWVÀRFNWRWKHDPELJXLWLHVDQGPDUJLQDOLWLHVWKDWFDXVHRWKHUVWRÀHH´35$VVXFKWKHVHLQGLYLGXDOVDUHPRUHFRPIRUWDEOHZLWKZRUNLQJZLWKLQDFRQWH[WRIWKHXQIDPLOLDU,QDQHYHUJOREDOL]LQJ world, the act of exploration signals a desire to challenge conventional practice, discovering new forms of creative dialogue to reinterpret the old into the new. Conclusion +RZFDQDUWLVWVXWLOL]HH[SORUDWLRQFROOHFWLRQVDQGVKDUHGSHUIRUPDQFHDV part of an ongoing creative practice? What creates the impulse to travel to UHPRWHORFDWLRQVDQGWKHUHE\FURVVFROODERUDWLRQ":KDWNLQGRIQHZZRUNV does this generate? ,QWKLVFKDSWHU,KDYHLQWURGXFHGP\ZRUNDVDUWLVWH[SORUHUDQGLQWURFROODERUDWRU´³DWKLUGDQGVXSHULRUPLQG´The Third Mind, 1HZ