Artangel,London

[from their website]

An urban fox let loose inside a gallery and observed by grainy CCTV; a pale, life-sized concrete cast of a terraced house and the impassioned, national debate it inflames; a bright blue crystalline grotto, hidden behind the doors of a council flat; the re-enactment of a riot; a requiem for an abandoned village…

Based in London but working across Britain and beyond, Artangel commissions and produces exceptional projects by outstanding contemporary artists. Over the past two decades, the projects have materialised in a range of different sites and situations and in countless forms of media.

Each new project evolves from a singular commissioning process, born from an open-ended conversation with an artist offered the opportunity to imagine something extraordinary. Artangel’s work is powered by the belief that artists are capable of creating visionary works which impact upon the way we view our world, our times and ourselves in unusual and enduring ways.

Many Artangel projects are given shape by a particular place and time. They can involve journeys to unfamiliar locations, from underground hangars to abandoned libraries. Or sometimes they can offer unfamiliar experiences in more familiar environments – a terraced house, a department store or daytime television.

This open-ended approach to the artistic process has seen Artangel generate some of the most talked-about, contentious and acclaimed art of recent times, including work by Francis Alÿs, Matthew Barney, Jeremy Deller, Douglas Gordon, Roni Horn, Steve McQueen, Michael Landy, Brian Eno, Gregor Schneider, Robert Wilson and Rachel Whiteread.

Please click here to explore some of the work we have produced in the last twenty years.

Pulse Room, Rafael Lozano-Hemmer, 2006

Pulse Room in Aarhus, Denmark,2009

Pulse Room 2006

About 100 (analog/classic) light bulbs are hung from ceiling of the installation site.

The bulbs plays a sequence of blinking. Every singe bulb represents and actually repeats heartbeat of past participants as 1 by 1 correspondence.

Sequence of how new participant joins is as following.

One of audience grabs a handle which heartbeat sensor is embedded.

It takes a short while until the sensor stabilize its readout. When it is done, whole order of pulses of bulbs shifts 1 (the oldest is now gone). And the new beat joins.

(Aug 2011)

Tatsuo Miyajima “Kadoya” at “house projects” at Naoshima 1998-1999

Kadoya, from Wikipedia
Kadoya, from Wikipedia

 

http://ja.wikipedia.org/wiki/%E5%AE%B6%E3%83%97%E3%83%AD%E3%82%B8%E3%82%A7%E3%82%AF%E3%83%88

http://www.benesse-artsite.jp/arthouse/kadoya.html

「Sea of Time ’98」 1998年
「Naoshima’s Counter Window」 1998年
「Changing Landscape」 1999年

角屋

家プロジェクトの第1弾。200年ほど経過した家屋を、焼板、漆喰、本瓦を使用し復元。山本忠司建築を担当。屋内には宮島達男の3つの作品が置かれる。暗い内部に張られた浅い池の底からカウンターで発行するLEDのさまざまな色の朧なが浮かび上がる作品、「シー・オブ・タイム」(「Sea of Time ’98」)- この作品の制作には町の人々も参加している。土間の壁には液晶ガラス透明数字ランダムに変化していく「ナオシマ・カウンター・ウィンドウ」(「Naoshima’s Counter Window」1998年)が、さらに蔵の奥には山水画の上に彩色を施した作品「チェンジ・ランドスケープ」(「Changing Landscape」1999年)がある。[1]

http://ja.wikipedia.org/wiki/%E7%9B%B4%E5%B3%B6%E7%94%BA

アーティストの宮島達男家プロジェクト第 1弾の「角屋(かどや)」を創るに当たって町民125人を公募し、作品を構成する125個のディジタル・カウンターの明滅速度を一人一人にセッティングし てもらい、地域住民参加という手法を取ることで、現代アートという異質なものが保守的な土地に入って来ることに対する町民の反感、抵抗を払拭した。

Better Together, Robert Putnam and Lewis Friedstein, 2003

Better Together, Robert Putnam and Lewis Friedstein, 2003

 

Definition of ‘Social Capital’ in INTRODUCTION

“As used by social scientisits, social capital refers to social networks, norms of reciprocity, mutual assistance, and trustworthiness. The central insight of this approach is that social networks have real value both for the people in those networks-hence, as a career strategy, for bystanders. Criminologists, for instance, have shown that the crime rate in a neighbor hood is lowered when neighbors know one another well, benefiting even residents who are not themselves involved in neighborhood activities.

Just like physicalcapital (tools) and human capital (education), social capita; comes in many different forms -a coffee klatcg, acivic organization, a  bowling league, a labor union, the Ku Klux Klan. As that last example illustrates, social capita; can be put to morally repugnant purposes as well as admirable ones, just as biochemical training can be used to concoct a bioterror weapon or life-saving drug. Social capital is a powerful tool, as our stories will illustrate, but whether it is put to good use or ill is a different issue.”

Definition of Social Capital

Definition of Social Capital

As used by social scientists, social capital refers to social networks, norms of reciprocity, mutual assistance, and trustworthiness. The central insight of this approach is that social networks have real value both for the people in those networks –hence, networking as a career strategy, for example- as well as for bystanders.

–(‘Better Together’ , introduction, Robert Putnam)

社会資本の定義
社会学者によれば、社会資本とは社会的ネットワーク、互恵的規範、助け合い、そして信頼性を表している。この手法の中心となる思考は、社会ネットワークは、その中にいる人々、たまたまそこに居合わせた人々の両方に対して本当の価値をもつということだ。たとえば、キャリア戦略としてのネットワーク作りがそうだ。