branded spaces presentation 2 ( revisesd)
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The revised bullet pointed presentationTRANSCRIPT
Branded Spaces
Caitlyn Hernandez Harriet Smith Shinji Pons
Susana Sousa
Drawing on the session, Experien?al spaces on the 15th of October, we
will analyse the exhibi?on by Swiss ar?st PipiloE Rist, Eyeball Massage,
at the Hayward Gallery using the text O’Doherty, B (1999) Inside the
White Cube: The Ideology of the Gallery Space [1976] Berkeley University
of California Press.
Form & Content
“When I close my eyes, my imagina?on roams free. In the same
way I want to create spaces for video art that rethink the very
nature of the medium itself. I want to discover new ways of
configuring the world, both the world outside and the world
within.”
PipiloE Rist
Figure 1: PipiloE Rist, Administering Eternity , 2011. Eyeball Massage, Hayward Gallery, London.
30 works from 1980’s –present day, including special piece for the
Hayward Gallery
Scale plays a large role in her work Rist u?lizes unique and untradi?onal spaces Placement within and outside the gallery space
PipiloE Rist considers her video works as extensions of her own body
as well as her mind.
“ I tend to feel the video pieces from inside myself.”
She uses the transforma?ve power of colour and space to enchant
and seduce the viewer and create this visual environment.
Historical and Cultural Context
Feminism & the Feminist Art Movement
Heavy focus on the human body, namely the female form
Fixa?on on sexuality Themes and feelings of freedom and explora?on
These no?ons of freedom and self-‐expression paired with her focus on women, the female body and sexuality should be contemplated with regards to the context of her work and her life so far.
Born in 1962 Rist grew in up in an era of feminist uprising
historian, Lina Nochlin published, Why Have There Been No Great Women Ar3sts?
Explored the social and economic factors repressing women’s ar?s?c achievement.
The Female Nude
Nochlin – why has the white western male viewpoint become accepted as the art historian’s perspec?ve?
1980’s art historian Griselda Pollock -‐ inves?gated the representa?on of men versus women in art, par?cularly the female nude.
“Men look at women and women watch themselves being look
at” (Berger, J. 1972 Ways of Seeing).
The Female Nude in Rist’s work
While Rist’s work depicts the female nude, she explains the female body represents humankind as a whole
Western society – sexualiza?on of the female nude body
Rist views nudity as something innocent and believes to be at ease with your body is to be at ease with your whole self
Rist uses the body as a landscape
Figure 2: PipiloE Rist, Massachusejs Chandelier , 2010. Eyeball Massage, Hayward Gallery, London [2011].
Social Context
Breaking social taboos
Rist breaks cultural and social taboos with her work She introduces new and warmer ways of displaying video
Provokes reac?ons by displaying explicit scenes of nudity and sexual intercourse
Technology
Explores socie?es rela?onship with technology and machinery
U?lizes lo tech machinery to create new and unique pieces
Transforms the cold and hard nature of machinery by crea?ng
mul?sensory experience pieces that immerse the audience into a
dream like state
Poli?cal Context
The Gallery
Challenges the poli?cs of the gallery. Disrupts tradi?onal ‘viewing rituals’ by crea?ng pieces of work that
can only be viewed by laying down or kneeling
Meanings
Inside the White Cube
O’Doherty -‐ ajempted neutrality of modern museums and galleries is
not neutral
The white cube stands for a community with common ideas and
assump?ons towards art.
With no context to place the artwork in, the white wall allows
audience assump?ons to be placed on an ar?st’s work as opposed for
the ar?st’s inten?ons to be placed on the audience
Rist, rebels against the white wall in her exhibi?on at the Hayward Gallery, Eyeball Massage, by u?lizing the space in a site specific
experien?al context that frees her work from the constraints of the
gallery and challenges audiences percep?on of art.
hjp://www.youtube.com/watch?v=uKR-‐QhjOz-‐
o&feature=player_embedded -‐ !
The Museum
“Art and ar?fact, style and period, high and low, dominant and marginal-‐ these are the boundaries museums rely on to sustain ‘socie?es most revered beliefs and values” (Corrin, L. 2004 p. 381).
The museum space relies on socie?es assump?ons
Simultaneously reinforcing them through the presenta?on of the artwork and the e?queje required
Rist defies the gallery -‐ interac?ve and communal area /invites audience to directly interact with her work
Placement
O’ Doherty – tradi?onally art is hung at the middle level of the white
wall
Separated from the room by a frame
Where the artwork is hung denotes its value and pres?ge.
Rist -‐force the audience to bend to her work, doesn’t worry about it not being seen
Experien?al Space
“If the love of art is the clear mark of the chosen, separa?ng, by an
invisible and insuperable barrier, those who are touched by it from those
who have not received its grace, it is understandable that in the ?niest
details of their morphology and their organiza?on, museums betray their
true func?on, which is to reinforce for some the feeling of belonging and
for others the feeling of exclusion.”
Pierre Bourdieu and Alain Darbel,
The Love of Art: European Art Museums and Their Public
Eyeball Massage -‐ creates a sense of community
Allows audience to experience Rist’s work in a crea?ve and collabora?ve way.
Rist breaks the social e?queje of the gallery Encourages audience to relax and enjoy her work
Figure 1: PipiloE Rist, A Peak Into the West A Look Into the East (E-‐W), 1992. Eyeball Massage, Hayward Gallery, London (2011).
“The coupling of these dimensions defines the four ‘realms’ of an
experience-‐ entertainment, educa?on, escape, and esthe?cism that
osen comingles to form uniquely personal encounters.” (New Forms of
Consump?on p 31)
Rist u?lizes the gallery space in order to create a unique and personal experience for her audience by manipula?ng:
Sound Scale Projec?ons Untradi?onal spaces (floor, ceiling, etc.)
Figure 2: PipiloE Rist, Selfless in The Bath of Lava, 1994. Eyeball Massage, Hayward Gallery, London (2011).
Rist creates environments that influence the way in which her work is
viewed.
The way in which her work is viewed some?mes becomes more
important than the work itself.
Forces audience to interact with her work as opposed to the tradi?onal clinical and controlled “do not touch” museum environment.
Allows audience to play and communicate with each other in a
communal art experience.