Art in Public Space – Between Mission & Commission:
The public art reaches most closer the area of “real politic”. It has distinct features which differentiate it from community art projects which are usually dealing with minoritarian politics. In public art there are big stake holders – the city, investors, different security regulations, police, institution of control of public health and so on. Therefore, it is exactly where artistic autonomy stops and the endless process of negotiations begins.
In this course we analyze a broad variety of different public art projects. We trace the differences in approaches to the politic of commemoration, gentrification, the difference between agonistic and consensual work.
And we also deal with one practical task – creating an altar which commemorates any events, personalities or communities and we will discuss the practical aspects of its realization.
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Dmitry Vilensky (born 1964 in Leningrad) artist and educator. He works mostly in collective practices and focus on developing an architecture constructions, educational seminars and learning plays, graphic works, and films. Не is the founding member of Chto Delat (What is to be done?), a platform initiated in 2003 by a collective of artists, critics, philosophers, and writers with the goal of merging political theory, art, and activism. Vilensky is also an editor of the Chto Delat newspaper and main facilitator of a School of Engaged Art in Petersburg.
He is also authors of numerous contribution to art press and participant of symposiums and conferences and guest teacher at many international art academies.
He has participated with Chto Delat in many shows – see profile at https://artfacts.net/artist/chto-delat/71233 including 29 biennials and major Museum solo shows:
Recent exhibitions include: When the roots start to move and get lost”, State of Concept, Athens (2020); ‘Times, Lines, 1989s’, Khoj International Artists’ Association, New Delhi (2020); The Missing Planet. Visions and re-visions of ‘Soviet Times, Centro per l’Arte Contemporanea Luigi Pecci in Prato, Italy, 2019; MUAC (The Museo Universitario Arte Contemporáneo), Mexico (solo show 2017); KOW BERLIN (solo show in 2017 and 2015), San Paulo Biennale (2014), Art, Really Useful Knowledge Museo Nacional Centro de Arte Reina Sofía, Madrid (2014), Art Turning Left: How Values Changed Making 1789–2013 – Tate Liverpool, Liverpool (2013); FORMER WEST: Documents, Constellations, Prospects, Haus der Kulturen der Welt, Berlin (2013); 10th Gwangju Biennale, Gwangju (2012); Chto Delat in Baden-Baden, Staatliche Kuntsthalle, Baden-Baden, 2011; Chto Delat Perestroika: Twenty Years After: 2011–1991, Kölnischer Kunstverein, Cologne, 2011; Ostalgia, New Museum, New York, 2011; Study, Study and Act Again, Moderna Galerija, Ljubljana, 2011; and The Urgent Need to Struggle, Institute of Contemporary Art, London, 2010.
The works are part of the collections: The Museum of Modern Art , New York; Van Abbemuseum, Eindhoven; Museum Reina Sophia, Madrid; Le Centre Pompidou, Paris; MUDAM, Luxemburg; Tretyakov Art Gallery, Moscow; MUAC (The Museo Universitario Arte Contemporáneo) Mexico City; KIASMA, Museum for Contemporary Art, Helsinki; Kadist Art Foundation, San Francisco; Museum of Conteporary Art, Belgrade; CAAC, Sevilia and many others
This is the first time Dmitry is teaching Art in Public Space – Between Mission & Commission with the Alternative Art School.