Artists and influencers in the 21st century have transformed places into spaces of interaction, as well as striking cultural conversation and debate.
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Artists and influencers’ in the 21st century have transformed “places” into “spaces” of interaction, whilst as striking cultural conversation and debate.
Network culture is all about the result of interaction and relations between people, machines, and between people and machines as a result in increasing mobile technologies (Varnelis, 2010). Artists and influencers in the 21st century have transformed “places” into “spaces” through encouraging interaction, whilst striking cultural conversation. This blog will show you some examples of artists who showed this concept.
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Lefebvre’s Notion of Space
Henri Lefebvre’s notion of space is spread throughout three sections; the space constructed by professionals (representations of space), the space of everyday experiences (spaces of representation), and spaces as seen and perceived by everyday people (spatial practices) (Merrifield, p 110). The following artists will show how Lefebvre’s notion is adaptable to the concept of the networking of spaces and places (Lefebvre, 1991).
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de Corteau’s Concept
de Corteau explains that every story is a travel story; a spatial practice. In other words, narrated adventures “simultaneously produce geographies of actions” (de Corteau, pp. 116). This means that the place and location that any movement can occur, is simply a place. However, once movement occurs, this simple “place” becomes a space; a practiced place through “strategies”. It is then up to the user to interact or react to the place with the creators, employing “tactics”.
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How Places & Spaces Make an Impact
De Corteau and Lefebvre’s notions of places and spaces create a forum for discussion in any geographical area. By taking this approach to artists and influencers in the 21st century, we understand how a simple “place” without interactivity, can be turned into a “space” that means something more, and can indeed change culture.
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Case 1: Banksy
British street artist, Banksy, in October 2013 took the streets of New York, made New York his own gallery, and created his 31-day scavenger exhibit throughout the city. The audience throughout the month of Banksy’s exhibition would become rather involved in the exhibition, unlike any other artwork in a gallery. Banksy’s use of graffiti implements de Corteau’s theory of “strategy” by the creator, and the “tactics” that are the reactions and manipulations of the audience.
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Banksy Encourages Interactivity
Day 7 of his New York exhibition, Banksy replicated his original balloon and girl artwork made in 2002 from London, and painted it in Brooklyn. The interactivity that occurred with this artwork alone, enhanced the idea of a networked space. “Users” would, like the original 2002 painting, go in the position of the girl, and replicate the original, justifying de Corteau’s idea that a place can turn into a space through geographies of action. The strategy used by Banksy manipulates the public to get interactive with his artworks, and post them on their socials; encouraging their followers, of the message behind the artwork, “THERE IS ALWAYS HOPE”.
Source Above (First balloon artwork made): Guy Hepner 2002, Banksy’s Girl With Balloon, viewed 19 Sep. 2018, https://guyhepner.com/banksys-girl-with-balloon/
Source: Posters and Prints Blog 2013, Banksy 'Band-Aid Balloon Heart' Found In New York City, viewed 19 Sep . 2018, http://www.postersandprintsblog.com/postersandprintsblog/2013/10/7/banksy-band-aid-balloon-heart-found-in-new-york-city.html
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Banksy Raises Cultural Debate
Network culture is a useful tactic in raising awareness of any political or social issues in society. Banksy evidently struck cultural conservation within the artworks themselves. Banksy turned public areas into a forum of discussion. Day 10 of Banksy’s exhibition was created in the East side of New York, in Brooklyn. When residents found out that the famous artwork was in their area, they decided to charge $20 to anyone who wanted to take a photo of it. Brooklyn is known to have an increasing socio-economic divide (Florida, 2013), with increasing unemployment rates (DiNapoli, Bleiwas, 2014), Banksy has raised an awareness of these factors, as people who will not usually go there will go there only for that fact. This can also bring professional attention, as Lefebvre’s explains the representation of space. Secondly, the residents of the area; the everyday people’s spaces of representation, and thirdly; the way users will interact with this artwork, and willingly pay the money to see the artwork and take a photo – special interaction (Merrifield, 2006).
Source: Tacopino, J 2013, Jerks charge to see Banksy piece, viewed 19 Sep. 2018, https://nypost.com/2013/10/11/east-new-york-jerks-charge-to-see-banksy-piece/
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Banksy Raises Social Debate
Banksy also raised conversation on slaughterhouses and brought ideas of veganism, vegetarianism by twisting a serious social conversation such as animal activism, into a child-like artwork. The roads (place) have become a space of conversation, as the truck drove around the streets of New York.
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Banks In Palestine
“...he has helped a lot of people around the world see this region not as a “living incarnation of hell” but as a realistic place where people have dreams and goals.” (Art, Identity, and Culture)
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“Banksy is clearly a guffhead”
Although some opinions on Banksy may be out of anger, or hate – this still fulfils Banksy’s job as a controversial artist (Brooker, 2006), following through with Banksy’s strategy, in that the tactic employed by some public, goes against the norm, in which (de Corteau, 1984) rather than following everyone else’s “tactic” of taking pictures, and posting it on their socials, others will remove Banksy’s works seeing it as vandalism, and others will take advantage of the work and tag their name to gain public recognition.
Source: Screen grab from Youtube 2017, Banksy Does New York, https://www.youtube.com/watch?v=--Z_wcAz3IU&has_verified=1
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Case 2: Murad Osmann
Photographer and influencer, Murad Osman uses a strategy through a networking space such as social media, influencing others to do recreate his images. The photographer curated a shot in 2013 of him taking his girlfriend’s hand in which she would be looking away. These iconic shots were generally in locations from all over the world, which was the beginning of the networked space within the artists life.
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Through social media, Instagram in this case, the photographer has created a network space. This exhibits de Corteu’s idea that a space exists when “one takes into consideration the vectors of direction” as people recreate the image. With the caption, and social tag #followmeto, the description explains how to “enter the room”. In this case, how to re-create the image for one’s own.
View this post on Instagram
A post shared by MURAD OSMANN (@muradosmann) on Apr 29, 2018 at 10:32am PDT
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Case 3: Ai Weiwei
Contemporary Chinese artist and activist, Ai Wei Wei, focuses on taking the traditional concepts, and turning them into something controversial. With this, the artist creates his networking space. Weiwei’s strategy of protesting demands a response from audiences within their “tactics”.
Source: Wilson, E 2017, Ai Weiwei Talks Global Refugee Crisis & New Film in San Francisco, viewed 19 Sep 2018, https://brokeassstuart.com/sf/2017/10/06/ai-weiwei-talks-global-refugee-crisis-new-film-in-san-francisco/
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Out of My Wei: 1
Weiwei’s photographic series, Study of Perspective, taken between 1995 and 2011 is focused on his beliefs of freedom of speech, empowerment of the people, and democratic values (Public Delivery, 2018). Through Weiwei’s use of direction and description, de Corteau’s idea that the labour that transforms places into spaces organises and changes the relationship between places and spaces comes into factor (de Corteau, 1984). Wei Wei’s use of middle finger in locations that demand respect, immediately draw controversy and get audiences to think about the photograph.
Image Sources: Public Delivery 2018, Xinjiang, China, 1995, viewed 19 Sep. 2018, https://publicdelivery.org/ai-weiwei-study-of-perspective/
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Out of My Wei: 2
Lefebvre’s notion of the representation of space is completely “disrespected”, as professionals would not approve of such behaviour. People’s general perception of places like the White House or the the Eiffel tower that demand respect and/or love. However, in this spatial practice, Wei Wei disregards this, creating a space in a generalised place, challenging the ideas of others who pass this “place” to voice their opinion and not be afraid of doing so.
Image Sources: Public Delivery 2018, Study of Perspective (1995-2011), viewed 19 Sep. 2018, https://publicdelivery.org/ai-weiwei-study-of-perspective/
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Breaking Value
Weiwei also rises cultural discussion as he breaks 2000 year-old Han Dynasty Urn’s that are considered consumer culture and heritage preservation. In this, he rejects the old world, and chooses to “build a new world by destroying the old one” (Public Delivery, 2018). This traditional “place” in China has thus been created into an active space by Weiwei by challenging his traditional audiences to think differently.
Source: Sotheby’s 1957, DROPPING A HAN DYNASTY URN, viewed 19 Sep 2018),�� http://www.sothebys.com/en/auctions/ecatalogue/lot.42.html/2016/contemporary-art-evening-auction-l16020
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“I have to speak for people who are afraid” - Weiwei
Watch Ai Weiwei explain his art and politics (Branigan, 2010).
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