Public art: public space filled with meaning
The unification of culture in the era of globalization, which leads to the loss of the individual identity of the place of existence. Art in the modern city as an integral element of architectural style and appearance. Artistic practices of public art.
| Рубрика | Культура и искусство |
| Вид | статья |
| Язык | английский |
| Дата добавления | 15.04.2024 |
| Размер файла | 14,8 K |
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Kharkov academy of postgraduate education
Public art: public space filled with meaning
Churkina Victoria Hryhorivna,
candidate of art history, master of management, the assistant professor of the department education and personal development
Voronina Halyna Leonidivna,
candidate of pedahohical sciences, the assistant professor of the department education and personal development
In the postmodern situation, a person experiences an identity crisis. The unification of culture in the era of globalization leads to the loss of the identity of the individual's place of existence. The city as a place of life is one of the important factors in the formation of our ideas about our own identity, both individual and group. Art in a modem city has long become an integral element of architectural style and appearance.
The habitat, its fullness of meaning, has a cultural and historical context and is one of the important factors in the formation of our ideas about identity. Indeed, the city significantly influences the ways of behavior, thinking, organization of life and relationships of people and at the same time determines the picture of the world, being a natural source of metaphors for the social construction of reality. A place shapes a person, and a person, in turn, constructs the identity of a place («place-making»), gives it uniqueness, reveals its authenticity.
Among art practices that contribute to the revival of a sense of place and identity, public art is considered a kind of guarantor of identity. The predecessors of public art can be called monuments and memorials, although they primarily did not create a creative space around themselves, but served to perpetuate the image of an outstanding person or event. The real artistic fascination of the city began not with sculptures, but with performances in the sixties of the last century: Viennese actionists took to the streets and threw their art practically in the faces of those who wanted nothing to do with art.
Artistic practices of public art are described in the works of domestic scientists O. Chepelyk, N. Musienko, D. Zaits, A. Efimova as those designed for communication with the viewer and aimed at actualizing various issues of both modern art itself and the space in which it is represented. Yes, in the 60s of the XX century. Greek artist NONDA created an interactive exhibition under the bridge dedicated to the poet Francois Villon. Important milestones in the development of public art are the geometric sculptures of the American David Smith, the destruction of buildings by Gordon Matt-Clark. The means of protest are the artistic masterpieces of Hristo Yavashev and Jeanne-Claude de Guillebon. Robert Smithson, Christo, NONDA, and Anthony Gormley, whose artwork interacts with the environment and society, are an important step forward in understanding the universe.
Public art is aimed at overcoming spiritual crises, understanding human life, cultural meanings and simples, in a global context and is one of the most obvious indicators of the creativity of cities, can be significant in rural areas, such as H. Hoffman's sculptures, which promote interaction with nature and environment.
In the modern metropolises-capitals of modern art of New York, Berlin, London, Vienna, Los Angeles, there are masterpieces of public art, which are symbols of cities, often densely from objects gradually turning into attractions along with cultural and historical heritage. In this way, art becomes a tool of urban renewal, therefore, according to Ch. Landry, artists are creators of change [6].
Thus, in Great Britain, from 1997 to 2007, the project «Renaissance through culture» was carried out, which involved innovations in social, urban and cultural policy with the aim of creating a space not only convenient for living, but also one that reflects the peculiarities of mentality and culture. The project was implemented with the participation of artists, architects, designers and contributed to the rehabilitation of abandoned city blocks that were doomed to demolition. An example of the revival of urban space is the flourishing of the depressed city of Gateshead in the north of England. The sculpture depicting the Angel of the North, 20 meters high, has become a brand of the region, and the attraction of a large number of tourists has contributed to the development of the city's economy. Angel of the North is one of Anthony Gormley's most famous works, a landmark in contemporary British sculpture and public art.
It should be noted that in his work, the Englishman Anthony Gormley deeply studies the relationship between the personal and the public in installations such as Allotment (1997), Domain Field (2003) and Another Place (2005). The artist focuses his gaze on the human body, exploring its relationship with the environment and architecture [4]. It is not for nothing that the «One & Other» project, in which public art becomes part of the community-based project concept, is recognized as one that involves the cooperation of artists with various social groups: youth, homeless people, or, on the contrary, successful citizens. Therefore, artists provide an opportunity for people to become full participants not only in artistic communication, but also in the creative process [5].
The task of public art is to reveal new facets of the usual environment, filling the permanent with extraordinary meanings. Being a conceptual - communicative, socially-oriented art, public art contributes to the establishment of new social relationships and the creation of a special, creative and meaningful atmosphere in the city. Constructing a place, involving the cultural and historical contexts associated with it, public art allows you to reveal its uniqueness and authenticity.
Today, public art exists in various forms, including in the form of sound and media installations, video projections, performances, dance and photography, flash mob sculptures, happenings, community art, etc. [3, 8-12].
Since 2014, after the Russian annexation of Crimea and the occupation of Donbas, Ukraine has been in a state of war. The war between the modern and the archaic is being waged both on the battlefields and in people's minds. Public art projects are a platform for discussing hot social issues, in particular, the struggle of the Ukrainian people in the full-scale invasion of the Russian Federation. The artists immerse the viewer in the world of non-figurativeness, where everyone can come up with ideas and offer their own interpretations of the works, most of which were created without light and heating [2]. And along with domestic artists K. Kachanovskyi, Yu. Zhuravl, D. Vovka, the works of the English street artist Banksy also appear in various cities and towns of Ukraine. Artists raise socio-political, military, environmental issues in the cultural space of the city. Art historians and critics, despite polar views and interpretations, agree on one thing: often unauthorized works of public art invite viewers to think in a new way about various political and social situations, cling to the living, give birth to discussions, give impetus to the search for new or actualization of old meanings [1].
As you can see, public art has its purpose: to change people's attitude to the place where they live, to make this place significant, famous, to evoke certain emotions, to help a problem, to motivate, to defend, to prove. Public art is aimed at communication, dialogue, its appearance in public space enables the artist to address the viewer, reveals and actualizes social problems of society and offers ways to solve them.
Literature
art architecture culture city
1. Бенксі в Україні: радіти чи хейтити. URL: https://dovkola.media/benksi-v - ukraini-radity-chy - kheytyty/
2. Фестиваль паблік-арту «OD'ART» пройшов в Одесі. URL: https://pivdenukraine.com.ua/2022/12/21/festival-pablik-artu-odart-projshov-v-odesi/
3. Чепелик О. Практики соціальної скульптури, або спроби подолання постмодернізму. Образотворче мистецтво. 2007. №4. С. 8-122.
4. Antony Gormley will always be irrelevant to me. URL: https://www.theguardian.com/artanddesign/jonathanjonesblog/2009/feb/26/antony-gormley - irrelevant-fourth-plinth
5. Antony Gormley. URL: https://www.antonygormley.com/
6. Charles Landry and Franco Biancini. The Creative City. URL: https://books.google.com.ua/books? id=uulAbj7IKdIC&printsec=frontcover&hl=ru&source=gbs_ ge_summary_r&cad=0#v=onepage&q&f=false
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