Space for Interference
Per Gunnar Eeg-Tverbakk representerer KHiO på The Second European Communication Conference som går av stabelen i Barcelona 25 – 28. november 2009. Konferansen arrangeres av ECREA (The European Communication Research and Education Association) i samarbeid med Universitat Autònoma de Barcelona (UAB). Eeg-Tverbakk presenterer sitt eget stipendiatprosjekt under seksjonen "Philosophy of Communication" i panelet “Performing the System - Differentiation and Difference in the Digital Age”.
Sammendrag:
The paper presents and discusses the author’s ongoing fellowship project entitled Space for Interference conducted under the Norwegian Programme for Research Fellowships in the Arts. Three artists (including myself) execute individual art projects. All three projects are interventions that take place outside the realm of the traditional art institution. Each artist works in relation to a chosen site, but in this context the ”sites” are not physical, definable locations but rather existing institutions and systems and their respective fields of operation.
The art projects serve as a basis for an investigation into methods of interference and the kinds of forms of address that artists use when intervening in other specialized fields in society. Their projects differ from earlier forms of intervention. The paper discusses differences in terms of motivation, idea and method, and questions whether "intervention" is, indeed, an accurate term for this type of artistic interference. Here the artists work more or less from within and in dialogue with the relevant social institutions and systems. More so than attempts to undermine and thwart activity at the “site”, these art projects can be seen as additions or amendments thereto.
The art projects appear similar to the sites’ usual functions, as if they were part of their internal operations. While entirely or partially incorporated into the ordinary operations of the actual institutions or systems and taking place within their frameworks, these projects are simultaneously or subsequently reported back to the art field as independent artistic works. These artworks seem to occupy a borderland between critique and affirmation. Despite their similarities in method and form, the three art projects constituting Space for Interference represent different understandings of art and appear to be motivated by dissimilar views regarding the role and function of art.
For some of the artists, it is primarily a matter of testing and expanding art's field of action through annexing new areas and formats. They are curious to see and experience the feedback that arises when different systems and mentalities come into contact with one another without being governed by social and political involvements. For other participating artists, however, the interventions represent alternative forms of resistance that, by means of dialogue and negotiation, seek to modify or alter a system from the inside. This tactic can be seen in light of the constructive shift in institutional-critical art, which may again be attributed to the influence of new institutionalism on the art field. The paper addresses external economic and political circumstances of the artists' choice of form, methods, and forms of address, and discusses how these artistic practices simultaneously oppose and play a part in a new creative economy.
Les mer om Per Gunnar Eeg-Tverbakks prosjekt 'Rom for innblanding'