M U S E U M & L I B R A R Y
R E S E A R C H
Traped : Protest is the escape
Creates a playfulspace
Material = cold
Materal = metalic glints = spectator
can see himself
his a part of it
3 Texte and signes
Commun to a lot of people
Signes with meaning
The posters take on the technical language of a user manual with hope to empower the audience and have them create disobedient objects of their own. A series of these bold call-to-arms feature across exhibition posters and the book produced to accompany the exhibition.
Today I went to the Victoria and Albert Museum in perspective of the Exhibition Review task.
Before I chose were I wanted to go I did a few researches on the internet (official websites, forums, articles, pictures...) to check out what were the themes and the style of all the choices we had.
Desobedient Objects (at the V&A) caught my attention beacause I thought that it must be interesting to see such a modern and untraditional exhibition in an instituation famous for it's conventionalisme.
This contraste attracted me.
In plus, during the last summer holidays I went to New York and I saw the exhibition of Ai Wei Wei at the Brookline Museum. I thought that going to an other political exhibition was a good way to deepen my knowleg within this subject.
I was very surprised by how the exhibition was aranged. I was expecting something more tidy but it was an (thoughfully aranged) chaos.
That fact made me quite enthousiaste and I knew right away that I wanted to do my exhibition review about this exhibition.
I navigated in the exhibition and tryed to think first with a genral view, a few words and ideas came to my ming and I wrote them down on my sketchbook:
-The imortance of the plurel
-"Uninon makes the strenght"
-Strong link woth spech and signes and symbols
-Colourful which catched the spectator's attention
I thought about an exhibition I went to see last year in Paris calledThe surrealism and the objects and I thought that I could link that exhibition to Desobedient objects because they both use objects to anchor ideas (immaterial) in the reality throught objects (material).
For the surrealistes it was a major element because they ideas were "sur" "real" so they needed to find a way, a medium to conjuguate those two things and here I think that this technic also applies here because the artists tends to vehiculate quite abstract ideas like Utopia (a word which's meaning has never occured in real life, it's only an idea), so they need to find tangible elements to communicate in a more eloquant way theire messages.
Then I visited the exhibition a second time and this time I spent more time on every pieces. I didn't realy tried to annalyse every single object one by one because I beleive that there's a part of the exhibition that can only be understand when the spectator has an overview of the exhibition.
But this time I noticed other things:
-There were some pieces that requiered the spectator's action, the pieces were interactive. Maybe it was a way to make the public actif to (politicaly) throught theire contribution and trhought that join (in a metaphorical way) the action.
-The disposition made the public circulate in a very thourougly thought way: it is like in Paris Hausman created bouleveards so that the government could control the mouvements of the crowd durring protestes. Here there is also a manipulation of the movements of the public in the space of the exhibition.
-This exhibition, although it is based on union, plurel and mutiplicity, it also hightlights that it's in a first place individual acts that changes the situations as we can see with the number of pieces whitch shows only one indivudual, or that makes us listen to one voice...
VIVTORIA AND ALBERT
From a Suffragette tea service to protest robots, this exhibition is the first to examine the powerful role of objects in movements for social change. It demonstrates how political activism drives a wealth of design ingenuity and collective creativity that defy standard definitions of art and design. Disobedient Objects focuses on the period from the late 1970s to now, a time that has brought new technologies and political challenges. On display are arts of rebellion from around the world that illuminate the role of making in grassroots movements for social change: finely woven banners; defaced currency; changing designs for barricades and blockades; political video games; an inflatable general assembly to facilitate consensus decision-making; experimental activist-bicycles; and textiles bearing witness to political murders.
2 Faces and identity
Importance of the individual
Importance of the multiplicity
Everyone hase a part
Faces are unic but they all have something in commun =
Multiple people but fighting fo one same idea
The faces themselves give an information : Ethnie...
The exhibition itself includes a multiplicity of voices from the various artists, designers and makers involved in the creation of the objects. Each each section panel is printed on a unique material all of which are cheap, mundane and most-importantly used in the making of the objects on show: fabric, stainless steel, cardboard, plastic, tarpaulin and OSB board. The object labels include the curator’s statement set in Doctrine’s regular character set and on grey board, and the maker’s statement set in Doctrine’s alternate characters and on yellow board.
4 L i b r a r y a n d e x h i b i t i o n r e v i e w
Today I went to CSM's library to research politicaly active art.
Desobedient Object is an exhibition multicultural, there are voices from China, Mexico, Arabie...
So the range of resarch was wide.
I looked at a certain amount of books but the ones that interested me the most were the posters of propaganda during different revolutions but mainly USSR and China.
It is a very interesting meduium of communucation and it's facinating to try and analyze all the messages vehiculated in those posters.
There is a question that I asked myself while doing this reaserch:
Are propaganda posters art?
Because if we think about it, it also ask people questions, it uses colors, shapes, lights, copositions... to send a message, they are quite ethetic...
That made me remember the famous entreprise of Joseph Beuys : Get art out of the museums.
He even made a piece, a happening were he and a student collected all the litter after a protest and he exposed it in a museum.
Je took someting that was just litter and put it in a museum and it became art.
This piece questions marcks, traces, time, object...
But it hightlight the fact that in the exhibition Desobedient Objects the curation plays an important part. Maybe the curration itself is a piece of the exhibition?
Beuys was actively involved in politics, participating in demonstrations, organising sit-ins, lecturing on democracy, and even standing as a candidate in elections for the Green Party. He was a passionate believer in democracy, and criticised the West German government for compromising its supposed democratic principles. He was equally vociferous in condemning the oppressive Communism of East Germany, as represented by the Berlin Wall.
In 1971, Beuys founded the Organisation for Direct Democracy through Referendum, a forum for discussion and experimentation that worked toward the realisation of a true democracy. The following year he helped to establish the Free International University, which aimed to foster creativity beyond the walls of traditional academia. By now, his political activities and his work as an artist were closely intertwined. He formulated a theory of ‘social sculpture’, exploring ways in which the creative impulse that shaped a work of art could also influence the world in which we live. He believed that everyone should be involved in this process because we all possess a latent creativity, hence his motto ‘Everyone is an artist’.
Sweeping Up Joseph Beuys 1972
An exception to the usually orderly arrangements of objects isSweeping Up (1972/85). The contents of this case originate in an action performed by Beuys in 1972. Following the left-wing May Day parade in Berlin, Beuys and two students used a bright red broom to sweep up all the rubbish in Karl-Marx-Platz. This gesture of making a clean start reflected Beuys’s dissatisfaction with the dogmas of Marxism, as much as with Western capitalism.