PUBLIC ART in and around trieste till Oct 28
5.09.2007 by sujaschko posted in Related events, Topic, Uncategorized | no comments



I came across this project by chance and it seems to be heading into a similar direction as Urban Interface. Interestingly it does not have a proper website. You can hardy find anything on it on the Internet, only here,261,0,0,1,0

From the press release:

This major event includes a number of initiatives and its aim is to consider ways of exploring and creating art in public spaces and contexts, inside or outside the urban setting, but also in relation to and involving the onlooker, the community and the society, communicating directly with the public, who become protagonists – rather than mere spectators – of the creative act. The ultimate purpose is to effect conscious changes that will advance the progress of society.

The project will use new forms of communication involving the man and woman in the street, through socio-relational workshops, commercial hoardings and “artists’manifestos”, thus creating art platforms on streets and public areas – the city’s nerve centres, border areas and difficult suburban areas – with site-specific and “relational” performances.

In order to provide information on and guidance for the project, these revolutionary forms of communication, which aim to restore and give pride of place to a human dimension which has often been marginalised by the current media system, will be accompanied by more traditional methods. These will include an international documentary exhibition and an international conference where artists, curators, architects, town planners and public administrators will discuss the various aspects of Public Art.

Finally, a publication will bring together all the material from the various phases of the event.

The “Public Art” movement is a relatively recent phenomenon which has become extremely widespread. It appeared in the 1970s, particularly in England and America, first as Land (or Earth) Art, at a time when art felt the need to emerge from its usual appointed places – i.e. museums and galleries – to express itself in new and freer conditions, released from its traditional context

Public Art happens in places where people live, streets, areas known to everyone, so it’s people in the street that benefit from it most, and not only “those who are in the know”; their contribution, if any, is made at a later stage. The idea is to take art to the widest possible variety of places: squares, parks, schools, historical monuments, using site-specific events, i.e. events specially designed for that particular place to transform it with stimulating tokens of creativity, and whose function is to oblige the casual observer to take a fresh, sometimes critical look at things. In short, the objective is to improve the quality of life, urging people to see the surroundings in which they go about their lives with new eyes.

In the 1990s, Public Art, especially in Italy, turned toward what is known as “Relational Art”, a form of art that involves people directly, making them protagonists of the event, thus encouraging a deliberate, conscious approach to the typical problems found in a given social and environmental situation, which the artists and other people involved explore through workshops culminating in the creative act itself. In this way, the form of communication that takes place becomes the essence and substance of the event imagined by the artist. The aim is to achieve a conscious alteration of a given social context, which means that Relational Art has strong communicative/social connotations.

“PUBLIC ART in and around Trieste” intends to carry out a recognition of public art in general – the latter being historically characterised by various aspects and interpretations – in an attempt to introduce a systemic approach to a movement that is so vast and diversified and involves a complete about-turn from the traditional, and sacred, concept of ‘art’.


13.08.2007 by Urban Interface Berlin posted in Topic | no comments

Interrogating Public Space is an ongoing series of interviews exclusive to Creative Time’s website by Curator Nato Thompson with artists, theorists, policy makers, and community organizers about the issues surrounding public space. These questions serve to complicate and broaden the notion of what constitutes a public practice and what mechanisms are available to increase social justice. As the study of space has grown to include multiple discourses, this investigation anticipates finding connecting issues that bring together disparate forms of analysis—from public housing to theme parks to public art to community organizing to interventions.

See first interview with Fritz Haeg.

POST-IT CITY: The Other European Public Spaces
30.07.2007 by Urban Interface Berlin posted in Topic | no comments

Giovanni la Varra has published a very interesting article about the temporal nature of public space which he calls the Post-it city. I don’t know how old it is, but I just came across it now. The subsol website has even more good essays on the subject of ‘urban space in movement’.

Brian Massumi: Urban Appointment, A possible rendez-vous with the city
14.06.2007 by Urban Interface Berlin posted in Topic | no comments

Here is a really interesting essay by Brian Massumi about intervenionist art practises, in particular focussing on the HUMO project/workshop which he did together with Rafael Lozano-Hemmer. The essay provides a lot of good references to the project and related art strategies, and digs deep into history and theory. Read this!

Urban Interface in
22.05.2007 by Urban Interface Berlin posted in Topic | no comments

Whole article in Swedish:

/…/Torstrasse and Gallerie Sparwasser which is now in function as a central for the project Urban Interface. Ten artists from Scandinavia and the rest of Europe urges attention on the public space in a private context and the artistic works are presented in the public space.

The philosophical discourse is recognisable, ongoing for a decade, but Urban Interface concretises and is keeping the right level and I’m prophesising a bright future for the curator Susanne Jaschko.

In Sparwasser’s nicely cool basement a big screen video is rolling showing a wintry square with light chequered paving. After a while you’re realising that the small dark, ant like silhouettes wanders across the image constitutes a score for Katrine M’s blipping, minimalist music. The sound and the film is synchronised and different relations to time, memory and presence creates a suggestive weave. Suddenly I hear the traffic from Torstrasse falling down into the basement at the same time as some cars in the corner of the video flickers past – sehr schön.

On Bernauerstrasse Gustav Hellberg encounters with three spotlights, mounted on high masts, which are switched off when pedestrians walk on the pavement’s lit fields. Gustav seams to thematize situations of fear and doubt on a site where once the wall was located /…/

Peter Uhr

Situativer Urbanismus
21.05.2007 by Urban Interface Berlin posted in Topic | no comments

Eine archplus Ausgabe, die die Situationistische Internationale als Herkunftsort vieler heutiger Planungsstrategien interpretiert? Eigentlich gar nicht so überraschend wie man denken könnte. War doch die Stadt Paris nicht nur der Bezugsraum der Situationistischen Internationale (SI), sondern auch der Fluchtpunkt ihrer Bemühungen um die Aufhebung der Kunst und der Überführung der Kunst in ein freies Leben. Dieses freie Leben suchte man umherschweifend zu erleben (Dérive), psychogeographisch zu kartieren (Psychogeographie), durch Zweckentfremdung überkommener Strukturen zu ergreifen (Détournement) und schließlich durch die permanente Revolution des Alltagslebens zu erreichen (Revolution des Alltagslebens). Nach diesem Programm haben wir die retrospektive Seite dieses Heftes gegliedert.

Der Raum der Räume Gewollt ist 1960: Die Neuausrichtung von Architektur und Städtebau, um die Wende der Disziplinargesellschaft ins Utopische durch die heroische Moderne zu korrigieren. Dieses Bedürfnis verschärft sich noch angesichts der aufkommenden neuen Gesellschaftsformation der Kontrollgesellschaft. Sie erzwingt fast, was gewollt ist: Neue Freiheitsspielräume durch Architektur und Städtebau zu eröffnen, einem anderen Subjektbegriff Raum zu geben, einen neuen Grad an Individualisierung zu respektieren, anders formuliert: das Dreigestirn von sozialer Revolution, Avantgardeanspruch und Planungsdiktatur der heroischen Moderne durch ein geläutertes Verständnis von Modernität einer der Gegenwart gerecht werdenden Moderne zu ersetzen. Dieses Verständnis von Modernität leitet die Überlegungen von Cedric Price oder Alison und Peter Smithson, deren Bemühungen um Begriffe wie as found, non-plan kreisen und im Konzept einer Ermöglichungsarchitektur gipfeln.

Und gewollt ist heute: Ebenfalls eine Neujustierung von Architektur und Städtebau, aber mit anderen Akzenten. Der Versuch nämlich, durch Mitbeteiligung der Bewohner einen räumlichen Mehrwert zu erreichen und bisher unterdrückte Bedürfnisse zu mobilisieren statt sich in Technikutopien zu verlieren. Dieses Konzept einer Ermöglichungsarchitektur wollen wir aufgreifen und weiter denken. Ziel ist ein Entwurf von Raum, der wiederum zur Produktion von Räumen anregt: eine Raumproduktion zweiter Ordnung. Raum bezeichnet dabei den Planungsraum des Architekten und Räume bezeichnen die Lebensräume der Bewohner, ein Abstraktum also und etwas Konkretes. Und die Frage lautet: Wie lassen sich Konkretionen planen, oder anders ausgedrückt, die Lebensräume der Bewohner, wenn sie sich jenseits des Planungsraums etablieren sollen. Damit verschiebt sich grundsätzlich der Akzent: einerseits von der Struktur zu Räumen, andererseits von der Dominanz des Planungsraums des Architekten zum Lebensraum der Bewohner.

Mehr Informationen und Leseproben auf archplus

Book: Dynamic Equilibrium: In Pursuit of Public Terrain
9.05.2007 by Urban Interface Berlin posted in Topic | no comments

inSite/ Art Practices in the Public Domain San Diego-Tijuana is pleased to announce the publication of Dynamic Equilibrium: In Pursuit of Public Terrain, the third and final book in the series documenting inSite_05.

The essays and dialogues included in Dynamic Equilibrium are drawn from the inSite_05 Conversations, which took place in San Diego/Tijuana from November 2003 through November 2005. Envisioned as working sessions centered around questions pertinent to the terrain of San Diego/Tijuana, the Conversations were conceived to rethink issues of local import within a broader frame. Drawn from the arenas of art and urbanism, geography and politics, history and philosophy, the texts converge in their quest to make sense of the forces that form the places where disparate publics meet.

Texts by Magalí Arriola, Judith Barry, Ute Meta Bauer, Teddy Cruz, Keller Easterling, Maarten Hajer, David Harvey, Manuel de Landa, Shuddhabrata Sengupta, Eyal Weizman, Måns Wrange, and Sally Yard.

inSite_05’s interdisciplinary platform incorporated four core components – Interventions, Scenarios, Conversations and Museum Exhibition. inSite_05 unfolded between 2003 and 2005 in San Diego-Tijuana. It had a concentrated phase of public presentation from August 26, 2005 though November 13, 2005. Dynamic Equilibrium is accompanied by two additional publications: Farsites, published in conjunction with the inSite_05 Museum Exhibition; and [Situational] Public, which documents the projects commissioned for inSite_05 Interventions and Scenarios.

For more information about inSite_05, and to order copies of Dynamic Equilibrium, please visit, or email

Paradoxien des Öffentlichen - Über die Selbstorganisation des öffentlichen Raumes
2.05.2007 by Urban Interface Berlin posted in Topic | no comments

Das langfristig angelegte Forum bildet eine Plattform der Auseinandersetzung mit neueren Formen der Kunst im öffentlichen Raum und leistet damit einen Beitrag zur Entwicklung der Kulturhauptstadt Ruhr 2010. Um als Keimzelle und Labor für das Neue zu wirken, ist eine der wichtigsten Fragen der Kunst: Wo entstehen heute die Kristallisationspunkte des Öffentlichen, die gesellschaftliche Dynamik ausstrahlen und wie können sie mit Hilfe der Kunst ein Gesicht, ein Bild, eine Form bekommen? Für eine Stadtlandschaft, der es an Zentralität mangelt, ob im Ruhrgebiet oder anderswo, sind die Dimensionen, Aufgaben und Funktionen einer Kunst im öffentlichen Raum neu zu denken. Es gilt Orte ins Visier zu nehmen, die bisher aus dem Diskurs über das Öffentliche weitgehend ausgegrenzt waren, wie z.B. Shopping Malls. Bei mangelnder zentraler Ausrichtung kann es darum gehen, die „Hinterbühne“ in den Vordergrund zu rücken und neben traditionellen Orten des Austauschs auch die Orte des Transfers wie Straßen und Orte der imaginären Begegnung wie Datenräume als öffentlich relevante Orte anzunehmen. Das Forum „Paradoxien des Öffentlichen“ nimmt sich deshalb drei öffentliche Sphären genauer vor: 1. Transitorische Räume: Autobahnen und Straßen 2. Konsumräume: Shopping Malls und Passagen 3. Datenräume: Mobile Technologien Mit Vorträgen und Werkstätten unternimmt das Forum eine kritische Revision des öffentlichen Raums und fragt nach neuen Räumen für die Kunst. Es geht davon aus, dass der öffentliche Raum kein fest umschriebenes Territorium mit fixen Grenzen ist. Übergänge zwischen privat und öffentlich werden ebenso fließend wie die Übergänge zwischen städtischem Raum und digitalem Raum der Daten.

Website Paradoxien des Öffentlichen

Beginn am 24. Mai, 13:30 Uhr, Ende am 25. Mai. ca. 23:00 Uhr

Landschaftspark Duisburg-Nord

Begrenzte Teilnehmerzahl, Anmeldungen bis 09. Mai 2007 unter Tel. Nr. 0203 283 6427 oder unter

Working With Art in Public Space
23.04.2007 by Urban Interface Berlin posted in Topic | no comments


Many of my projects stem from an interest in a direct confrontation with public space, and with objects and phenomena constituting that space. An artwork placed in a public space like Pulsing Path – ambiguous vision (Madrid Abierto 2006) or Zone – out of vision (Article, Stavanger and Urban Interface Berlin) could be seen as an attempt to establish communication. It is an ambiguous statement rather than making questions pointing in one direction, it is a comment on something that has already been made, the structure of the city and the habits of its citizens. What has once been made is possible to criticise and this project is a kind of critique, critique seen as an expression done after an analysis, and using an existing structure, building, construction or grounds – i.e. an institution that is part of the society – in this purpose the artist and his work is trespassing the social community.

Private in Public

In a society that, through technological advances, seems to be moving and changing rapidly, commercialism has taken a further step out into the public space. Boundaries between private and public, privacy and universality, have become harder to define. Commercial forces work in these borderlands and the individual’s control over their personal situation and privacy protective functions is increasingly hard to sustain. Fewer areas in society are preserved from the forces of marketing and trading.

Alienation – contextual response

The fear of the unknown is strong amongst most people. Whether it is fear of what lies hidden in darkness, or a fear of something beyond one’s knowledge, to ignore this fear could have devastating consequences. Fear is an emotion that can be explored in unexpected ways through art, and this is one reason for such a project as Zone – out of vision , which is placed in one of the most public of spaces: the street. A street, square or other public space allows a meeting with a non-specialized audience, which brings to the work a vast array of possible readings. Because these spectators don’t necessarily come from similar social or educational backgrounds, the work is therefore placed in an inevitably difficult social context. An artwork in public space may be overlooked or ignored by some, while to others it may appear as interesting, stimulating, provocative, or irritating. As human beings we can only interpret what we encounter with the help of our individual experiences and knowledge, therefore ending up with differing views.

As an artwork in a public space might differ from objects normally expected to be there (thus appearing as an abnormal or alien object) it is almost inevitable that the work will arouse fear in some people, and be rejected by others. It is not necessarily my main concern to provoke fear in viewers, but as an artist it seems important to deal with – rather than avoiding – such fear, and other preconceived notions, wherever they may appear. Above all I see my public-space works as obstacles for the mind, able to trigger differing viewpoints and responses.

Any person who states uncomfortable opinions in public is ultimately responsible for both voicing those opinions and dealing with the attendant risks. Working with art in public space is like walking a tightrope, whereby the artist has the opportunity to reach out to an audience outside the usual art institutions, but does so largely without any institutional safety nets. Placing art in public space requires certain strategies, including a kind of humility on the part of the artist. For art in public space encounters the same problems as architecture and societal or political planning: that is, it materializes directly as a part of society as well as playing a more indirect part as an aesthetic entity.

Cancellation of Gustav Hellberg’s artist talk
19.04.2007 by Urban Interface Berlin posted in Other, Topic | no comments

Unfortunately, Gustav Hellberg had to cancel his artist talk today due to sickness. However, Niklas Goldbach is ready to present his work in urban interface berlin and a selection of video works.