Narratives

"Let’s now open an imaginary window. What do we see? Is this how we imagine public space?"This final article written by Herman Bashiron Mendolicchio completes the entire series of nine articles about the Artistic Acupuncture missions that took place all over Europe.

The city of Moss (NO) and its urban renewal landscape are at the centre of this ninth and final IN SITU "Artistic Acupuncture". The artist Sjoerd Wagenaar carried out his creative Acupuncture mission there, focusing his research on local participation in urban planning - in close collaboration with Østfold Internasjonale Teater.

In 2019, the choreographer Joanne Leighton was invited by IN SITU to do an Artistic Acupuncture in Terschelling (NL). In this specific island context, the artist focused her creative response on the notions of the global and the local - in close collaboration with Oerol Festival.

In 2019, the artist duo zweintopf formed by Eva and Gerhard Pichler were invited to do an Artistic Acupuncture in Prague (CZ). For this mission the artists decided to work on the specific subject of the monument, the sculptures, and their meanings - in collaboration with 4+4 Days in Motion.

In 2019, Francesca Grilli was invited to do an "Artistic Acupuncture" in Genk (Belgium). She found creative potential in the city's background by connecting different times, eras and generations. In close collaboration with Provinciaal domein Dommelhof.

In 2019, dance artist and choreographer Deirdre Griffin was invited by IN SITU to address the complex issue of rural exodus in Catalonia through the development of a creative response. Her "Artistic Acupuncture" took place in Tàrrega (Spain), in close collaboration with Fira Tàrrega.

Morten Traavik visited Kosovo twice in order to develop his "Artistic Acupuncture" mission focused on the visa regulations policy in the country. By exploring major issues such as cultural identity and social justice, he came up with a new way to facilitate artistic exchanges in Kosovo - in close collaboration with Teatri ODA.

Artistic Acupuncture 3#: In 2019, Nada Gambier and Mark Etchells explored the post-industrial district of Csepel, Budapest (Hungary). Within this artistic research, both artists focused on concepts of cultural identity and urban renewal, in close collaboration with Artopolis Association / PLACCC Festival.

With a background in anthropology and a practice that often involves concerns about women’s rights, Maria Sideri focused her artistic research in Marseille on the elements of dominance and accessibility that constantly define public space. In close collaboration with Lieux publics, based in Marseille (France), Maria Sideri started her "Artistic Acupuncture" by exploring different districts of the city and by encountering many people who informed her field trip.

Danae Theodoridou – a performance maker and researcher who focuses her work on the notion of ‘social imaginaries’ and the way art can contribute to the emergence of social and political alternatives – has been invited by La Strada Festival to develop her "Artistic Acupuncture" in the area of Reininghaus in Graz, Austria.

How do artists adapt to the contemporary world? How do they react to more limited resources and increasingly stringent policies? What new forms of collaboration are they coming up with? From Exeter to Budapest, Amsterdam to Bordeaux and Marseille, creative ecosystems, funding, and cultural references have changed.

Join us on a quick tour of Europe. 

For the IN SITU pilot project In Search of Democracy 3.0, Lucas de Man and his team of Stichting Nieuwe Heldenwork work together with IN SITU partners to make an investigation of current democracy and its challenges for the future.

For the IN SITU pilot project In Search of Democracy 3.0, Lucas de Man and his team of Stichting Nieuwe Helden work together with IN SITU partners to make an investigation of current democracy and its challenges for the future.

Seth Honnor, the artistic director of Kaleider (United Kingdom) followed his PIG around Europe. PIG is an original IN SITU Pilot project focusing on the concept of collective choice and responsability. Taste a bite of its 2018 tour and read its diary.

The Hungarian artist Ambrus Ivanyos of the collective MeetLab describes the conceptual significance and the creation process of the project How to disappear completely, a site-specific reality game in the public space that has been developped and presented at PLACCC Festival in Budapest in September 2018 and adapted in Izmir, Turkey, in February 2019.

Invited as an external eye of the Hot House 2018 in Terschelling, I wondered how the 17 artists I would meet would define their ‘public space’. What they would offer, how they would address the currently over-asked and over-exposed citizens which form their audiences.

4 + 4 dny v pohybu or 4 + 4 Days in Motion. For the past twenty three years, this festival has been combining the performing and visual arts in unusual places across the Czech capital. The themes it covers make for a truly unique event…

Invited to the La Strada festival in Graz, choreographer Chris Haring recently presented an adaptation of his play, “Foreign Tongues” in a church. Don’t the juggling feats of acrobats also have their own way of evoking religious imagery? From the roots of dance and balancing acts, we’re on our way to the museum.

PIG is a playful experiment in collective decision-making that was conceived by the English artist Seth Honnor, Artistic Director of Kaleider. It is being co-produced as a Pilot Project within the framework of IN SITU ACT 2017–2020.

Upon returning to Slovakia in 2009, after finishing her studies in France, Zuzana Pacáková was playing with the idea of establishing a contemporary art festival that had been missing in her hometown of Košice. Inspired by Paris’s Nuit Blanche, she enthusiastically decided to enter a fascinating circle, introducing the now-renowned and popular festival of contemporaryart, Biela noc, to Slovak audiences.

The streets are a place of protest and sometimes of concern. In Paris, despite the small number of protesters, taking to the streets is a legitimate expression of the people’s democratic rights. In Barcelona, protests from both sides fill the streets on the question of Catalonian independence. But across the Pyrenees, Benjamin Vandewalle’s latest participatory performance in public space brings us back to art history.

Sat in Pristina International Airport waiting for my flight to Vienna, and on to London, I’m wondering what this week has been all about: why do I feel so damned tired, and why do I have a photograph of a boy-mannequin, wearing a crocheted waistcoat, posed in front of a badger pelt on my phone?

In Hull, recently voted the “least romantic city in England”, Freedom Festival celebrated the 210th anniversary of the abolition of slavery in the British Empire. It strikes an appropriate political tone, in the wake of recent racist incidents and discourse in Charlottesville, Virginia. Thought-provoking debates and shows combined with lighter entertainment, which were also steeped in the city’s history.

In summer, the air in the border city of Graz (which takes its name from “grad” or “gradec”, meaning “town” in Slavic languages) ripples with the sounds of Croat, Slovak and Slovenian. A generation ago, the city was at the border of “the other Europe”. Today, the La Strada festival is peacefully celebrating its 20th anniversary. But other borders still need to come down in people’s minds.

In contrast to the productivity-based, consumerist model which dominated the 20th century, more contributory systems are now emerging. It is within this context that certain artistic creations are presenting another economic approach, in order to more equitably share the richness of our imaginations.

Jay Wahl is the former artistic director of the Kimmel Center in Philadelphia. Vladimir Us  is a curator with the Oberliht Group in Moldova. Both organisations are members of the IN SITU platform. They examine the concept of popular art and compare their approaches to working in public space.

In the face of increasing authoritarian trends, demagogy, discredited elites, and public indifference, public opinion and political leaders are oscillating between popular and populism. Join us as we delve into the modern challenges of democracy.

The Metropolis 2007-2017 initiative, launched by IN SITU member Københavns Internationale Teater (KIT), aims to link the world of the arts and theatre with city life and urban development. The ambition is to forge continual collaborations crossing the disciplines of art and architecture, culture and urban planning – across local, regional and national borders.

This article makes no pretence of being an exhaustive account of everything that happened during the Neerpelt Hot House, but offers a specific and partial perspective from a curator and artist who has recently become a network partner. It offers a periscopic perspective, much like that of a submarine – enough to identify what is on the surface, and maybe even to target what is under the surface.

It breaks down into three parts: examination, diagnosis and cure. First I will endeavour to identify what struck me in the artists’ personalities and in their projects, then what bringing together these personalities and projects can tell us about the context and the broader situation in society, and finally what could, perhaps, be refined in the Hot House approach.

In one of our previous columns, we discussed the Leviathan monster, without dealing with Thomas Hobbe’s notion of “commonwealth”. The idea of a commons is coming back to the fore. Just what does it mean exactly?

“Art in the face of terror”. After the terrorist attacks of last spring, this burning issue was explored by participants over four days at the International Centre for Training in the Performing Arts (CIFAS) in Brussels, through both discussion and actions.

The Paris, Brussels and Nice attacks remind us that public space can also be a place of mourning, an aspect covered by some artists at the Travellings festival in Marseille.

Wherever you find the artist Frank Bölter, who we just read about in column #1, you’ll find his simple paper-made artistic creations in public space… and that’s no accident.

Mathieu Braunstein travelled in the Balkans during the 1990's and is the author of the book: François Mitterrand à Sarajevo, le rendez-vous manqué, éd. L'Harmattan, 2001

How can you write about art in public space in Europe, while keeping a critical distance and avoiding eulogistic praises? How can you analyse the performing arts, something that, by its very nature, is temporary, while keeping your ears open to what's going on in the world? As always, books are a precious aid for staying focused on what matters.

Emerging spaces in Prishtina, Kosovo, hosted by Teatri ODA 5-7 April 2016

The European network IN SITU, an advocate for site-sensivite art, has organised yet another edition of Emerging Spaces, a series of intensive workshops. On paper, the seminar’s opening days in Budapest focused on post-industrial areas, with the ruined but beautiful Csepel Industrial Park as its central location, although the set topic would go through various changes throughout the three days of the workshop.

How can artistic creation in (post-communist) Europe continue in a context of economic crisis and democratic regression? We discuss the current climate with three festival directors from Bulgaria, Hungary and Slovakia, and Polish Theatre Director Krzysztof Warlikowski.

This Emerging Space was a strange experience, with a strange title, open to many interpretations, especially in English: "breaking down barriers"…  

How do new technologies affect creation in public space: in Norwich, European artists have explored new opportunities offered by these innovative tools.

A garden begins wherever a human foot  touches the ground to step into a space that is both vegetable and mineral. That’s the moment when the memory of his presence is first settled in that place.” 

Neil Butler is the former head of UZ Arts, an independent organisation based in Glasgow (Scotland) that initiates a number of cultural programmes worldwide. Amongst other work, Werner Schrempf heads La Strada festival in Graz (Austria) which he founded in 1998. These two IN SITU network members’ directors provide together their account of art in public space today.

Olivier Grossetête and Zimmerfrei collective (Massimo Carozzi, Anna de Manincor et Anna Rispoli) build “fleeting” cities. "Fleeting City" by Olivier Grossetête and "Temporary Cities" by Zimmerfrei are two IN SITU projects. As one creates common sense by building real cardboard walls, the other offers a dream version of the city.
Artists' reflection about the invisible walls dividing our towns.

Licensed city planner Trevor Davies is the director of the Metropolis biennale of art in the public space, organized by Københavns Internationale Teater in Copenhagen. He is also the head of the application committee for the city of Åarhus in the run to host the European Capital of Culture program in 2017. 

Gigantic portraits of Palestinians and Israelis plying the same trade, stuck face to face in public areas, on either side of the Dividing Wall. That was Face2Face, a daring project which brought fame to its authors, JR and Marco. Since then, the two authors have pursued their work, springing surprises in daily city life to change our way of seeing things.