2014.7
THE UNIVERSITY OF THE WITWATERSRAND, JOHANNESBURG.
Although the gallery is a space for display, it is also a space for public engagement with artists (through floor talks, artist walkabouts, workshops, residency presentations etc). Through a series of performances and public interventions, Erin Bosenberg explores the way in which intimacy functions within such publics, and in particular, how intimacy engages with the production of meanings and narratives surrounding networks of artwork and artist. In the first of this series of public works, Bosenberg will walk around various malls across Johannesburg offering ‘fantastical” soundscapes for public listening. Individual soundscapes range in length from approximately 30 to 60 minutes and are built around interviews with walkabout audience members and artists. A second intervention will involve prompting museum visitors to sit at a table with headphones in order to directly experience a live radio show in which they will then be invited “on-air” to discuss and reflect upon the current exhibition. The final intervention will involve spontaneous performances of a script written by four different screenwriters based on an audio recording of sculptor Jeremy Wafer’s walkabout at the Wits Art Museum in 2013. For Bosenberg, it is within art publics that we extend our understandings of artistic ideas, techniques and materialities. Bosenberg is particularly interested in what happens within communications between artists, artworks and audiences – moments in which intimacy might exist and/or multiple meanings and narratives are potentially produced. Bosenberg is also interested in the way in which histories of listening (from radio to the phenomenology of sound) might inform ideas of public intimacy between artist, artwork and audience. With a radio format in mind, Bosenberg collects artist and audience interviews and compiles them together with found sounds to produce part-fictional/part-documentary audio narrative documents. Bosenberg does not aim to provide explanations for artistic works or process but rather to facilitate an entry point for discussion and engagement. Accordingly, this entry point utilizes the imaginary as a conduit for an indescribable “closeness” to the experience of art as a network of contextual associations both inside and outside of a gallery environment.
번역
정서연
원문출처
더 읽을 거리
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