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Public Property: Elmgreen + Dragset's Provocations in Public Art Vera List Center for Art & Politics at the New School New York, NY
[http://4.bp.blogspot.com/eaqMVIADPTk/U4Ag3GRJEbI/AAAAAAAABgQ/OnaHC0yXxaA/s1600/photo+2+ (14).JPG] Elmgreen + Dragset discuss their upcoming slide show, New School
The crowd fell silent at the New School auditorium as Public Art Fund Director Nicholas Baume introduced artist duo Elmgreen & Dragset for their discussion as part of a series on artists, cities and communities. Held at the New School's Vera List Center for Art & Politics in the Village after a few months of delay (the original talk was canceled due to a blizzard), the duo was there to speak after having shown in the Public Art Fund's Common Ground group exhibit in 2013 held on the grounds of City Hall Park. Baume outlined the duo's previous works, touching upon their witty and provocative sensibility before turning the mic over to them. Michael Elmgreen and Ingar Dragset then introduced themselves before beginning to present a slideshow of their more sensational output over the years. The focus of their talk centered on how art can foment a discussion differently in the institution and in the public sphere. As an introduction to their practice, Elmgreen & Dragset both discussed the idea of "public-ness". Ingar Dragset alluded to the dual standards imposed by the art world when discussing the issue of art in public: the duo discovered that frequently seminars and discussions on public art happened behind closed doors. The artists recommended, naturally, that the doors be opened to the general public. This not so revolutionary revelation had previously been discounted by the notably insular art world, and the artists were happy to highlight the omission of 'public' from the art world's discussion of 'public art'. Dynamic Views template. Powered by Blogger.
http://audraabouttown.blogspot.com/2014/05/public-property-elmgreen-dragsets.html
Page 1 of 5
Public Property: Elmgreen + Dragset's Provocations in Public Art | Art ventures About Town
6/11/14 1:27 PM
When invited to show at a gallery in a working-class neighborhood in Milan, Italy the duo was putting together objects for the show when a woman living above the gallery yelled down at them, chastising them for their volume and telling them the neighborhood didn't need all the noise they were creating. After giving it some thought, the artists decided to stick it to their neighbor--by creating a hole in the woman's floor and sticking a ladder for guests to climb and observe her space through a plexiglass bubble. Incorporating elements of the private into the public and vice versa, Elmgreen + Dragset are not afraid to create new situations for visitors to interact with, allowing guests to challenge their expectations about art. Michael Elmgreen elaborated on their start collaborating as performance artists. Their initial way of thinking led to such projects as one of their earlier works from their ongoing Powerless Structures series, Dug Down Gallery. Installed in Iceland in 1998, the work is featured in a public park in Iceland and consists of a miniature gallery space sunken into the ground at a public park. Dragset further explained that this was their chance as emerging artists to "look down at the gallery" for once. Breaking down their practice into conceptual building blocks one notices immediately the artists' tendency to analyze and re-structure hierarchies as a way to introduce the art world to public through their works. They have also shown that when creating pieces for the art world they remain relevant and suggestive by implementing grand concepts. During the 2009 Venice Biennial the artists each secured a national pavilion they were then able to create within. Arranging and curating the subsequent exhibit "The Collectors" the artist duo filled the Danish and Nordic pavilions with art and design elements, one palazzo/pavilion styled after a family home and the other as a gay bachelor pad. Acting as both artists and curators, they reached out to their peer artists to contribute works and also incorporated security guards into the pavilions as actors, responding to their environment by appearing in various states of dress (or undress) within the space. Visitors interacted with staged elements suggesting the presence of a family or bachelor but leaving the guest with a curiosity and leeway to create their own story. This freedom to construct stories by way of clues embedded in the artists' installations is another hallmark of the artists, as they frequently demand audience participation to complete the narrative.
[http://4.bp.blogspot.com/EU8cIj4Ub3I/U4AgxJxaNSI/AAAAAAAABgI/haEWj4XQvu4/s1600/venice.jpg.jpg] Nordic pavilion at the 2009 Venice Biennial, Elmgreen + Dragset
Perhaps best known in the US for their Prada Marfa installation, a full-size mockup of a Prada store about 30 miles away from minimal art mecca Marfa, TX, http://audraabouttown.blogspot.com/2014/05/public-property-elmgreen-dragsets.html
Page 2 of 5
Public Property: Elmgreen + Dragset's Provocations in Public Art | Art ventures About Town
6/11/14 1:27 PM
Elmgreen + Dragset spent time discussing this piece. They mentioned how originally they were interested in placing the work in Nevada so it would have the name "Prada Nevada". Finally they placed it near Judd's Chinati foundation headquarters at Marfa, sacrificing the catchy moniker for a play instead on Marfa's minimalist sculpture tradition. The work has attracted undue attention, some if it unfortunately more as a result of vandalism. Dragset noted that he "never thought it would have such a turbulent life" as the sculpture has survived break-ins and graffiti attacks multiple times over its short ten year history. He also noted for the uninitiated that the store was not done as a commercial for Prada, explaining that Prada was in no way involved in the concept and construction of the piece.
view of Prada Marfa along Highway 90 in Texas
One possible inspiration for Prada Marfa, as the duo explains, was their installation work in Milan's prominent shopping centre Galleria Vittorio Emanuele Short Cut. The Fiat and trailer combination jutting sharply from the ground is an attention-grabbing comment on trends in vacationing for those hailing from different walks of life: while others jet set, some take a fiat caravan. This image is also a proposition from the duo : why not take a trip below the earth's surface? A unique look at how Europeans go on holiday, this work was incidentally placed in front of a Prada boutique in the galleria, which the duo noted certainly left an impression on them.
[http://1.bp.blogspot.com/idUSgoProdc/U4DLBiMrlfI/AAAAAAAABgg/SI_Pgx6LCe8/s1600/FNT_ElmgreenDragset_SHORT-CUT_02.jpg] above: Short Cut, installation shot oft he work in Milan, Italy below: The Weight of Oneself, Lyon, France
http://audraabouttown.blogspot.com/2014/05/public-property-elmgreen-dragsets.html
Page 3 of 5
Public Property: Elmgreen + Dragset's Provocations in Public Art | Art ventures About Town
6/11/14 1:27 PM
[http://2.bp.blogspot.com/TjNAoTCXe_M/U4DLF-dahhI/AAAAAAAABgo/LJPYe4yGeOo/s1600/551145-the-weightof-oneself-elmgreen-et-dragset-jacques-leone.jpg]
For all of their institutional and social commentary there is more than a hint of social activism under consideration when they are creating new works. As I had encountered their work The Weight of Oneself, a statue situated in Lyon, France along the river and facing the Palais de Justice, I took the Question/Answer round as a chance to question their motive in forming this piece. The work is a depiction of a man carrying himself, in the nude, set above on a base. Apart from the social responsibility one has for one's actions, latent in the message, Elmgreen noted the implications the piece had as it was installed during a time of strong protests against the rights for gay marriage in France. Other works as well have shown their commitment to promoting rights for marginalized populations, particularly for the gay community.
A lot was discussed during the lecture and here is a heavily distilled version of the discussion; for more information of to hear the artists' opinions on other works they have created (or even other controversies they have created) feel free to email me at: [email protected]. Posted 3 weeks ago by Au.Rora Location: The New School for Public Engagement, New York, NY 10011, USA Labels: art talk, art world, contemporary art, Elmgreen + Dragset, installation art, institutional critique, Manhattan, New School, new york city, public art, Vera List Center 0
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wn
Adventures Exploring the Arts
6/11/14 1:27 PM
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Public Property: Elmgreen + Dragset's Provocations in Public Art Vera List Center for Art & Politics at the New School New York, NY
[http://4.bp.blogspot.com/eaqMVIADPTk/U4Ag3GRJEbI/AAAAAAAABgQ/OnaHC0yXxaA/s1600/photo+2+ (14).JPG] Elmgreen + Dragset discuss their upcoming slide show, New School
The crowd fell silent at the New School auditorium as Public Art Fund Director Nicholas Baume introduced artist duo Elmgreen & Dragset for their discussion as part of a series on artists, cities and communities. Held at the New School's Vera List Center for Art & Politics in the Village after a few months of delay (the original talk was canceled due to a blizzard), the duo was there to speak after having shown in the Public Art Fund's Common Ground group exhibit in 2013 held on the grounds of City Hall Park. Baume outlined the duo's previous works, touching upon their witty and provocative sensibility before turning the mic over to them. Michael Elmgreen and Ingar Dragset then introduced themselves before beginning to present a slideshow of their more sensational output over the years. The focus of their talk centered on how art can foment a discussion differently in the institution and in the public sphere. As an introduction to their practice, Elmgreen & Dragset both discussed the idea of "public-ness". Ingar Dragset alluded to the dual standards imposed by the art world when discussing the issue of art in public: the duo discovered that frequently seminars and discussions on public art happened behind closed doors. The artists recommended, naturally, that the doors be opened to the general public. This not so revolutionary revelation had previously been discounted by the notably insular art world, and the artists were happy to highlight the omission of 'public' from the art world's discussion of 'public art'. Dynamic Views template. Powered by Blogger.
http://audraabouttown.blogspot.com/2014/05/public-property-elmgreen-dragsets.html
Page 1 of 5
Public Property: Elmgreen + Dragset's Provocations in Public Art | Art ventures About Town
6/11/14 1:27 PM
When invited to show at a gallery in a working-class neighborhood in Milan, Italy the duo was putting together objects for the show when a woman living above the gallery yelled down at them, chastising them for their volume and telling them the neighborhood didn't need all the noise they were creating. After giving it some thought, the artists decided to stick it to their neighbor--by creating a hole in the woman's floor and sticking a ladder for guests to climb and observe her space through a plexiglass bubble. Incorporating elements of the private into the public and vice versa, Elmgreen + Dragset are not afraid to create new situations for visitors to interact with, allowing guests to challenge their expectations about art. Michael Elmgreen elaborated on their start collaborating as performance artists. Their initial way of thinking led to such projects as one of their earlier works from their ongoing Powerless Structures series, Dug Down Gallery. Installed in Iceland in 1998, the work is featured in a public park in Iceland and consists of a miniature gallery space sunken into the ground at a public park. Dragset further explained that this was their chance as emerging artists to "look down at the gallery" for once. Breaking down their practice into conceptual building blocks one notices immediately the artists' tendency to analyze and re-structure hierarchies as a way to introduce the art world to public through their works. They have also shown that when creating pieces for the art world they remain relevant and suggestive by implementing grand concepts. During the 2009 Venice Biennial the artists each secured a national pavilion they were then able to create within. Arranging and curating the subsequent exhibit "The Collectors" the artist duo filled the Danish and Nordic pavilions with art and design elements, one palazzo/pavilion styled after a family home and the other as a gay bachelor pad. Acting as both artists and curators, they reached out to their peer artists to contribute works and also incorporated security guards into the pavilions as actors, responding to their environment by appearing in various states of dress (or undress) within the space. Visitors interacted with staged elements suggesting the presence of a family or bachelor but leaving the guest with a curiosity and leeway to create their own story. This freedom to construct stories by way of clues embedded in the artists' installations is another hallmark of the artists, as they frequently demand audience participation to complete the narrative.
[http://4.bp.blogspot.com/EU8cIj4Ub3I/U4AgxJxaNSI/AAAAAAAABgI/haEWj4XQvu4/s1600/venice.jpg.jpg] Nordic pavilion at the 2009 Venice Biennial, Elmgreen + Dragset
Perhaps best known in the US for their Prada Marfa installation, a full-size mockup of a Prada store about 30 miles away from minimal art mecca Marfa, TX, http://audraabouttown.blogspot.com/2014/05/public-property-elmgreen-dragsets.html
Page 2 of 5
Public Property: Elmgreen + Dragset's Provocations in Public Art | Art ventures About Town
6/11/14 1:27 PM
Elmgreen + Dragset spent time discussing this piece. They mentioned how originally they were interested in placing the work in Nevada so it would have the name "Prada Nevada". Finally they placed it near Judd's Chinati foundation headquarters at Marfa, sacrificing the catchy moniker for a play instead on Marfa's minimalist sculpture tradition. The work has attracted undue attention, some if it unfortunately more as a result of vandalism. Dragset noted that he "never thought it would have such a turbulent life" as the sculpture has survived break-ins and graffiti attacks multiple times over its short ten year history. He also noted for the uninitiated that the store was not done as a commercial for Prada, explaining that Prada was in no way involved in the concept and construction of the piece.
view of Prada Marfa along Highway 90 in Texas
One possible inspiration for Prada Marfa, as the duo explains, was their installation work in Milan's prominent shopping centre Galleria Vittorio Emanuele Short Cut. The Fiat and trailer combination jutting sharply from the ground is an attention-grabbing comment on trends in vacationing for those hailing from different walks of life: while others jet set, some take a fiat caravan. This image is also a proposition from the duo : why not take a trip below the earth's surface? A unique look at how Europeans go on holiday, this work was incidentally placed in front of a Prada boutique in the galleria, which the duo noted certainly left an impression on them.
[http://1.bp.blogspot.com/idUSgoProdc/U4DLBiMrlfI/AAAAAAAABgg/SI_Pgx6LCe8/s1600/FNT_ElmgreenDragset_SHORT-CUT_02.jpg] above: Short Cut, installation shot oft he work in Milan, Italy below: The Weight of Oneself, Lyon, France
http://audraabouttown.blogspot.com/2014/05/public-property-elmgreen-dragsets.html
Page 3 of 5
Public Property: Elmgreen + Dragset's Provocations in Public Art | Art ventures About Town
6/11/14 1:27 PM
[http://2.bp.blogspot.com/TjNAoTCXe_M/U4DLF-dahhI/AAAAAAAABgo/LJPYe4yGeOo/s1600/551145-the-weightof-oneself-elmgreen-et-dragset-jacques-leone.jpg]
For all of their institutional and social commentary there is more than a hint of social activism under consideration when they are creating new works. As I had encountered their work The Weight of Oneself, a statue situated in Lyon, France along the river and facing the Palais de Justice, I took the Question/Answer round as a chance to question their motive in forming this piece. The work is a depiction of a man carrying himself, in the nude, set above on a base. Apart from the social responsibility one has for one's actions, latent in the message, Elmgreen noted the implications the piece had as it was installed during a time of strong protests against the rights for gay marriage in France. Other works as well have shown their commitment to promoting rights for marginalized populations, particularly for the gay community.
A lot was discussed during the lecture and here is a heavily distilled version of the discussion; for more information of to hear the artists' opinions on other works they have created (or even other controversies they have created) feel free to email me at: [email protected]. Posted 3 weeks ago by Au.Rora Location: The New School for Public Engagement, New York, NY 10011, USA Labels: art talk, art world, contemporary art, Elmgreen + Dragset, installation art, institutional critique, Manhattan, New School, new york city, public art, Vera List Center 0
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