Public Relations 4/ Guerrilla Art: Exposure, Interventions,

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Photo: String Art Graffiti, Artist Unknown

Guerrilla Art: A creative and unexpected interruption within everyday life by an anonymous artist or artist collective. The art can be an object, experience or situation confronting taken for granted reality. It can invite participation or a new way of looking at one’s surroundings.

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Photo: Agustina Woodgate, Poetry Bombing, Clothing labels with poems printed on them are sewn clandestinely in local thrift stores, 2011

“Places and Objects are alive, we make them alive, they tell our stories and tales. Sewing poems in clothes in a way is giving the garments a voice. We are in relation — with others, with things, with the world. This being-in-relation, is a way of perceiving, a mode of moving, a narrative of global truths designed by cultural fictions. Sewing poems in clothes is a way of bringing poetry to everyday life just by displacing it, by removing it from a paper to integrate it and fuse it with our lives. Sometimes little details are stronger when they are separated from where they are expected to be.” (Agustina Woodgate, http://www.agustinawoodgate.com)

Photo: Bodies in Urban Spaces, Choreographer Willi Dorner, You Tube Video Uploaded by Marcus Stucklin

“The intention of “bodies in urban spaces” is to point out the urban functional structure and to uncover the restricted movement possibilities and behaviour as well as rules and limitations. Bodies in Urban Spaces invites the residents to walk their own city thus establishing a stronger relationship to their neighbourhood, district and town. The interventions are temporarily without leaving any traces behind, but imprints in the eye-witnesses’ memory.

Bodies in Urban Spaces is a moving trail, choreographed for a group of dancers. The performers lead the audience through selected parts of public and semi-public spaces. A chain of physical interventions set up very quickly and only existing temporarily, allows the viewer to perceive the same space or place in a new and different way – on the run. The special quality of each place at various times of the day creates unique presentations.” (Will Dorner, Artist Statement)

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Photo: Art in Odd Places, Katya Grokhovsky, Slow Dance

“Katya Grokhovsky, Slow Dance The audience and passersby are invited to slow dance with the artist and numerous performers to music from diverse cultures and time periods. Taking place in various locations, the project seeks to investigate urban alienation and human desire to connect. Based around the idea of a couple dance or an old-fashioned mating ritual, Slow Dance is an exploration of intimacy, loneliness, and the ultimate distance between us.

Art in Odd Places (AiOP) presents visual and performance art in unexpected public spaces. It Art aims to stretch the boundaries of communication in the public realm by presenting artworks in all disciplines outside the confines of traditional public space regulations. AiOP reminds us that public spaces function as the epicenter for diverse social interactions and the unfettered exchange of ideas.” Art in Odd Places

Guerrilla Gardening

Richard Reynolds, www.guerrillagardening.org

HOW TO BE A GUERILLA ARTIST by Keri Smith www.kerismith.com

“Guerrilla art is a fun and insidious way of sharing your vision with the world. It is a method of art making which entails leaving anonymous art pieces in public places. It can be done for a variety of reasons, to make a statement, to share your ideas, to send out good karma, or just for fun. My current fascination with it stems from a belief in the importance of making art without attachment to the outcome. To do something that has nothing to do with making money, or listening to the ego.”

“Experiment with your own ideas.
Possible Formats
1. Sidewalk chalk
2. Sticker art
3. Flyers/posters (see “make a flyer of your day” at learningtoloveyoumore. Here is mine, page 1, page 2, page 3.
4. Journals (pass it on)
5. Zines
6. Object leave behinds (money, gifts, junk)
7. Notes (slogans)
8. Graffiti
9. Book inserts (library)
10. Book leave behinds (bookcrossing)
11. Letters (possibly love letters to strangers)
12. The age old ‘message in a bottle’, or a balloon. Or if you are really adventurous you might be drawn to carrier pigeons.
Potential Ideas for subject matter
-any form of artwork (drawings, collage, doodles, paintings)
-recipes
-photos
-good luck charms
-fortunes
-quotes
-variations on a theme
-many guerilla artist are politically motivated and find that being anonymous allows them to be more controversial or extreme with their message. Popular with activists.” Source: Keri Smith

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Photos: Guerrilla Girls, http://www.guerrillagirls.com

“We’re feminist masked avengers in the tradition of anonymous do-gooders like Robin Hood, Wonder Woman and Batman. How do we expose sexism, racism and corruption in politics, art, film and pop culture? With facts, humor and outrageous visuals. We reveal the understory, the subtext, the overlooked, and the downright unfair… GUERRILLA GIRLS: NOT READY TO MAKE NICE, 30 YEARS AND STILL COUNTING,

In May 1985 we put our first posters up on the streets of New York and everyone went bananas. May 2015 marked three decades of fighting discrimination and corruption in the world of art, film, politics and pop culture.”

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Photos: Harmen de Hoop, 1. For Free! Rotterdam, 2005 2. MINERAL WATER – LANDSMEER -1994 A rack with mineral water bottles added to an information sign in a recreational area.www.harmendehoop.com

“I have always worked anonymously, and [have] never told anyone where my artworks are…All my artworks transmit political, social and philosophical ideas..I am interested in the authentic moment – my artworks are an unpretentious personal dialogue with passersby.” (Harmen de Hoop quoted in Art and Agenda: Political Art and Activism Edited by Robert Klanten, Matthias Hübner, Alain Bieber, Pedro Alonzo and Gregor Jansen

Historical References for Art and Participation

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Photo: Giusepe Pinto-Gallizio + Guy Debord

Extract from the Situationist Manifesto, May 17, 1960

“Against preserved art, it is the organization of the directly lived moment.

Against particularized art, it will be a global practice with a bearing, each moment, on all the usable elements. Naturally this would tend to collective production which would be without doubt anonymous (at least to the extent where the works are no longer stocked as commodities, this culture will not be dominated by the need to leave traces.) The minimum proposals of these experiences will be a revolution in behavior and a dynamic unitary urbanism capable of extension to the entire planet, and of being further extensible to all habitable planets.

Against unilateral art, situationist culture will be an art of dialogue, an art of interaction. Today artists — with all culture visible — have been completely separated from society, just as they are separated from each other by competition. But faced with this impasse of capitalism, art has remained essentially unilateral in response. This enclosed era of primitivism must be superseded by complete communication.”

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Fluxus 1959-present (meaning Fluid), Interdisciplinary Artists, Musicians, Composers, Poets. Manifestos: Creation is Important not the Product, Experimentation, Chance, Anti-Commercial Art Interventions, Social Experiments, Happenings

“…Fluxus artists rejected traditional principles of craftsmanship, permanency of the art object and the notion of the artist as specialist. Fluxus artists viewed art not as a finite object but as a time-based experience, employing performance and theatrical experiments. Fluxus artists were interested in the transformative potential of art through collaboration. Spectators were encouraged to interact with the performer, while plotless staged events left artworks open to artistic chance and interpretation. Artworks were realised in a range of media, including musical scores, performances, events, publications, MULTIPLES and assembled environments constructed to envelop the observer. These initiatives were often conceived with workshop characteristics, whereby the artist operated as facilitator, engaging the audience in philosophical discussions about the meaning of art. Artworks often took the form of meetings and public demonstrations, HAPPENINGS or SOCIAL SCULPTURE, whereby the meaning of the work was derived from the collective engagement of the participants. A common goal of Fluxus, Happenings and Situationist events was to develop a new synthesis between politics and art, where political activism was mirrored in streetbased arts practice as a radical means to eliminate distinctions between art and life” (What is Participatory and Relational Art? IMMA, http://www.imma.ie)

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Akira Kanayama: Ashiato, 1956

Gutai 1954-1972

“The word ‘gutai’ translates as ‘concreteness’, and it articulates one of the Gutai group’s most distinctive traits – their desire to physically engage with an extraordinary range of materials. The name also anticipated their investigations into the reciprocal connection between matter (paint, chemicals, tar, mud, water) and physical action (breaking, exploding, tearing, dripping). They wanted to create a new kind of art that explored the relationship between the human spirit and material…

Gutai firmly believed in concept over form, thoroughly rejecting representative art. They wanted to move away from the art object towards the invisible world of ideas, and to leave plenty of room for viewers to come up with potential meanings on their own.” Gutai Group, The Art Story, http://www.theartstory.org/movement-gutai.htm

“Founded by the visionary artist Yoshihara Jirō in 1954, the Gutai group was legendary in its own time. Its young members explored new art forms combining performance, painting, and interactive environments, and realized an “international common ground” of experimental art through the worldwide reach of their exhibition and publication activities. Against the backdrop of wartime totalitarianism, Gutai forged an ethics of creative freedom, breaking through myriad boundaries to create some of the most exuberant works and events in the history of Japanese and international avant-garde art.” Guggenheim New York, Gutai: Splendid Playground

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Gutai: Experimental Outdoor Exhibition of Modern Art to Challenge the Mid-Summer Sun (1955)

“As a group…we impose no rules. Ours is a free site of creation wherein we have actively pursued diverse experimentations…” Extract Gutai Art Manifesto by YOSHIHARA JIRŌ