Practicable: From Participation to Interaction in Contemporary Art (Leonardo Book Series)

by Margit Rosen (Author), Luke Skrebowski (Author), Margit Rosen (Author), Luke Skrebowski (Author), Erik Verhagen (Author), Samuel Bianchini (Author), Simon Penny (Author)

New
Illustrated
2016
$55.69

Critical analyses, case studies, and artist interviews examine works of art that are realized with the physical involvement of the viewer. How are we to understand works of art that are realized with the physical involvement of the viewer? A relationship between a work of art and its audience that is rooted in an experience that is both aesthetic and physical? Today, these works often use digital technologies, but artists have created participatory works since the 1950s. In this book, critics, writers, and artists offer diverse perspectives on this kind of practicable art that bridges contemplation and use, discussing and documenting a wide variety of works from the last several decades. The contributors consider both works that are technologically mediated and those that are not, as long as they are characterized by a process of reciprocal exchange. The book offers a historical frame for practicable works, discussing, among other things, the emergence and influence of cybernetics. It examines art movements and tendencies that incorporate participatory strategies; draws on the perspectives of the humanities and sciences; and investigate performance and exhibition. Finally, it presents case studies of key works by artists including and offers interviews with such leading artists and theoreticians as Claire Bishop, Thomas Hirschhorn, Matt Adams of Blast Theory, Seiko Mikami and Bruno Latour. Numerous illustrations of artists and their works accompany the text. Contributors Matt Adams (Blast Theory), Jean-Christophe Bailly, Samuel Bianchini, Claire Bishop, Jean-Louis Boissier, Nicolas Bourriaud, Christophe Charles, Valerie Chatelet, Jean-Pierre Cometti, Sarah Cook, Jordan Crandall, Dominique Cunin, Nathalie Delbard, Anna Dezeuze, Diedrich Diederichsen, Christophe Domino, Larisa Dryansky, Gloria Ferreira, Jean-Paul Fourmentraux, Gilles Froger, Masaki Fujihata, Jean Gagnon, Katrin Gattinger, Jochen Gerz, Piero Gilardi, Veronique Goudinoux, Usman Haque, Helen Evans and Heiko Hansen (HeHe), Jeppe Hein, Thomas Hirschhorn, Marion Hohlfeldt, Pierre-Damien Huyghe, Judith Ickowicz, Eric Kluitenberg, Janet Kraynak, Bruno Latour, Christophe Leclercq, Frederik Lesage, Rafael Lozano-Hemmer, Peter Lunenfeld, Lawrence Malstaf, Julie Martin, Seiko Mikami, Dominique Moulon, Hiroko Myokam, Ernesto Neto, Mayumi Okura, Eddie Panier, Francoise Parfait, Simon Penny, Daniel Pinkas, Chantal Pontbriand, Emanuele Quinz, Margit Rosen, Alberto Sanchez Balmisa, Frederik Schikowski, Arnd Schneider, Madeline Schwartzman, Luke Skrebowski, Vanessa Theodoropoulou, Rirkrit Tiravanija, Andrea Urlberger, Erik Verhagen, Franz Erhard Walther, Peter Weibel, Renate Wiehager, Catherine Wood, Giovanna Zapperi, Anne Zeitz, David Zerbib Edited by Samuel Bianchini and Erik Verhagen with the collaboration of Nathalie Delbard and Larisa Dryansky.

Synopsis

Critical analyses, case studies, and artist interviews examine works of art that are realized with the physical involvement of the viewer. How are we to understand works of art that are realized with the physical involvement of the viewer? A relationship between a work of art and its audience that is rooted in an experience that is both aesthetic and physical? Today, these works often use digital technologies, but artists have created participatory works since the 1950s. In this book, critics, writers, and artists offer diverse perspectives on this kind of practicable art that bridges contemplation and use, discussing and documenting a wide variety of works from the last several decades. The contributors consider both works that are technologically mediated and those that are not, as long as they are characterized by a process of reciprocal exchange. The book offers a historical frame for practicable works, discussing, among other things, the emergence and influence of cybernetics. It examines art movements and tendencies that incorporate participatory strategies; draws on the perspectives of the humanities and sciences; and investigate performance and exhibition. Finally, it presents case studies of key works by artists including and offers interviews with such leading artists and theoreticians as Claire Bishop, Thomas Hirschhorn, Matt Adams of Blast Theory, Seiko Mikami and Bruno Latour. Numerous illustrations of artists and their works accompany the text. Contributors Matt Adams (Blast Theory), Jean-Christophe Bailly, Samuel Bianchini, Claire Bishop, Jean-Louis Boissier, Nicolas Bourriaud, Christophe Charles, Valerie Chatelet, Jean-Pierre Cometti, Sarah Cook, Jordan Crandall, Dominique Cunin, Nathalie Delbard, Anna Dezeuze, Diedrich Diederichsen, Christophe Domino, Larisa Dryansky, Gloria Ferreira, Jean-Paul Fourmentraux, Gilles Froger, Masaki Fujihata, Jean Gagnon, Katrin Gattinger, Jochen Gerz, Piero Gilardi, Veronique Goudinoux, Usman Haque, Helen Evans and Heiko Hansen (HeHe), Jeppe Hein, Thomas Hirschhorn, Marion Hohlfeldt, Pierre-Damien Huyghe, Judith Ickowicz, Eric Kluitenberg, Janet Kraynak, Bruno Latour, Christophe Leclercq, Frederik Lesage, Rafael Lozano-Hemmer, Peter Lunenfeld, Lawrence Malstaf, Julie Martin, Seiko Mikami, Dominique Moulon, Hiroko Myokam, Ernesto Neto, Mayumi Okura, Eddie Panier, Francoise Parfait, Simon Penny, Daniel Pinkas, Chantal Pontbriand, Emanuele Quinz, Margit Rosen, Alberto Sanchez Balmisa, Frederik Schikowski, Arnd Schneider, Madeline Schwartzman, Luke Skrebowski, Vanessa Theodoropoulou, Rirkrit Tiravanija, Andrea Urlberger, Erik Verhagen, Franz Erhard Walther, Peter Weibel, Renate Wiehager, Catherine Wood, Giovanna Zapperi, Anne Zeitz, David Zerbib Edited by Samuel Bianchini and Erik Verhagen with the collaboration of Nathalie Delbard and Larisa Dryansky.

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More Information

Format: Illustrated
Pages: 952
Edition: Illustrated
Publisher: MIT Press
Published: 13 Dec 2016
ISBN 10: 0262034751
ISBN 13: 9780262034753

Author Bio

Samuel Bianchini, an artist and researcher, is Associate Professor at the Ecole Nationale SupErieure des Arts DEcoratifs (EnsAD), PSL Research University Paris where he is the head of the Reflective Interaction Research Group of EnsadLab, the school's laboratory. Erik Verhagen, an independent curator and an art critic, is Associate Professor of Contemporary Art History at Universite de Valenciennes. Margit Rosen is a Researcher and Curator for ZKM | Center for Art and Media Technology. Simon Penny is Professor of Art at the Claire Trevor School of the Arts at the University of California, Irvine, teaching mechatronic art, media art history and theory, and interdisciplinary seminars interfacing contemporary cognitive science and philosophy of mind with the arts. Trained as a sculptor, he has spent much of his career building interactive art environments with custom robotic and sensor-based systems. Anna Dezeuze, is the editor of The 'Do-it-yourself' Artwork: Participation from Fluxus to New Media and co-editor, with Julia Kelly, of Found Sculpture and Photography from Surrealism to Contemporary Art. Her writing has appeared in Oxford Art Journal, Women & Performance, Performance Research, Mute, and Art Monthly. She is a Lecturer in Art History at the Ecole Superieure d'Art et de Design Marseille Mediterranee. Peter Lunenfeld is Professor of Design Media Arts at UCLA. Sarah Cook is a curator and researcher working at the intersection of art, digital and electronic media, and science. She is the coauthor (with Beryl Graham) of Rethinking Curating: Art After New Media (MIT Press), and in 2004 cocurated the touring exhibition, Database Imaginary. She is Dundee Fellow at Duncan of Jordanstone College of Art and Design, University of Dundee. Catherine Wood is Curator of contemporary art/performance at Tate Modern and is currently curating, with Jessica Morgan, the upcoming exhibition, The World as a Stage. Recently, she programmed Theatre Pieces, a series of live works for the Tate Triennial 2006. She has regularly published articles in Afterall, Frieze, Art Monthly, and Untitled and has contributed numerous essays to exhibition catalogs. Janet Kraynak is a New York-based art historian. Erik Verhagen, an independent curator and an art critic, is Associate Professor of Contemporary Art History at Universite de Valenciennes. Peter Weibel is Chairman and CEO of the ZKM | Center for Art and Media, Karlsruhe, and Professor at the University of Applied Arts Vienna. He has edited other ZKM volumes published by the MIT Press, including, most recently, The Global Contemporary and the Rise of New Art Worlds. Thomas Hirschhorn (b. 1957) is a Swiss artist known for large sculptures and ambitious projects, often constructed of everyday, makeshift materials. Bruno Latour, a philosopher and anthropologist, is the author of Reassembling the Social: An Introduction to Actor-Network Theory, Our Modern Cult of the Factish Gods, An Inquiry into Modes of Existence, and many other books. He curated the ZKM exhibits ICONOCLASH and Making Things Public and coedited the accompanying catalogs, both published by the MIT Press. Samuel Bianchini, an artist and researcher, is Associate Professor at the Ecole Nationale SupErieure des Arts DEcoratifs (EnsAD), PSL Research University Paris where he is the head of the Reflective Interaction Research Group of EnsadLab, the school's laboratory. Claire Bishop is the author of Installation Art: A Critical History and a contributor to many art journals, including ArtForum, Flash Art, and October. She is a Lecturer in History of Art at the University of Warwick. Sean Cubitt is Professor of Film and Television at Goldsmiths, University of London. He is the author of The Cinema Effect and the coeditor of Relive: Media Art Histories, both published by the MIT Press.