aesthetics

Another dialogical aesthetic example is that of Turkish collective group Oda Projesi. The three-person group began organising community events from their three room flat in the Galata District of Istanbul in 1997. Their apartment became a multipurpose public space, which became a gathering place for neighbours.[1] They have mainly organised arts based events, often for children. ‘Oda Projesi argue that they wish to open up a context for the possibility of interchange and dialogue’ and talk of ‘being “mediators” between groups of people who normally don’t have contact with one another’[2]. New Zealand artist, Eve Armstrong has similar objectives in dialogical aesthetics. In her recent six week residency exhibition, ‘SLIPs : Small Local Improvement Projects’ Armstrong ‘sent our fliers and emails asking for submissions from local residents for ways in which their community could be improved’ She worked from a gallery space in Wellington responding to many submissions. She helped set up networks and contact between people through meetings and discussions. “The projects evolve in a very different way from what you started with… and often its not until you’re actually engaged with it that the real project comes out.” [3]

Oda Projesi 'Picnic' 2001 Installation event with community participation organised by Erik Gonrich Oda Courtyard, Istanbul, June 10 2001



Claire Bishop writes about Oda Projesi saying ‘aesthetic judgements have been overtaken by ethical criteria’[4] Although the group has clearly stated that they are interested in creating relationships and are not worried about aesthetics. Bishop is still concerned with criticising the aesthetic levels of their work. ‘This discourse, she argues, has focused mainly on the artist’s process and intentions, or the project’s socially ameliorative effects, to the neglect of the works aesthetic impact.’[5] This is an important art criticising argument between ethics and aesthetics of dialogical works. It relates to the idea that context is much more important than a works content or medium. Suzanne Lacy says ‘Considering process and context as aspects of the actual work does not eliminate discussion of its aesthetic impact.’[6] Aesthetic impact is important and can be a powerful communication tool. Context is the most important aspect of dialogical practices and works should be able to be related to different contents. The idea of the work is always put before the medium. ‘Maria Lind writes of Oda Projesi, “They have loose connections with the art world and are less occupied with discussing what is and is not art; it seem to suffice that art offers a method and a zone for certain types of activities.”’[7] If art discourse fits the practice and style of the work (then why not?) Similarly, a group called Iconoclast 98 has voiced their aim to put context and idea before medium and if they need to they will turn to other mediums. They say, “In practice, the world of contemporary art has proved to be the most flexible environment for diverse projects, being a free zone of experimentation within the society at large….In fact, in IC-98’s idealist-pragmatic program the projects are labelled art only for strategic reasons – the strategy works as long as the concepts of art do not come to dominate the discourse…..you call yourself artist, just because it is institutionally convenient, because the very concept of ARTIST is obscure.”[8]

[1] Oda Projesi ‘oda projesi’ webpage http://odaprojesi.org/lang-pre/en
[2] Claire Bishop ‘The Social Turn: Collaboration and its Discontents. Art Forum’
www.artforum.com/imprint/id
[3] Renee Gerlia ‘Summer at Enjoy’ Eve Armstrong Website Salient www.salient.co.nz/index.php
[4] Claire Bishop ‘The Social Turn: Collaboration and its Discontents. Art Forum’
www.artforum.com/imprint/id
[5] Roche, Jennifer. ‘Socially Engaged Art, Critics and Discontents: An interview with Claire Bishop’. July 2006 www.communitiyarts.net/readingroom/archivefiles/2006/07sociallyengage.php
[6] Suzanne Lacy, Model for Elements in Public Art – ‘Fractured Space’, from ‘Art in the Public Interest’ Ed. Pg 290
[7] Leisure Arts collective and blogg space “Maria Lind - Tactical/Agnostic Artist - Ted Purves” http://leisurearts.blogspot.com/2006/04/maria-lind-tacticalagnostic-artist-ted.html
[8] Iconoclast by Iconoclast Publications http://www.socialtoolbox.com/ 2004