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Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied — 43.2010

DOI Heft:
Nr. 1
DOI Artikel:
Rattray, Michael: Something about a face: itinerant post-spectacle practices and the work of Graham Landin
DOI Seite / Zitierlink: 
https://doi.org/10.11588/diglit.31178#0088

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the environment and the observer, ln this way, the
adhered vinyl force the spectator to momentarily
re-think the function of space, its value, and how
they may go about engaging with it.
The house consumes us, as does the mailbox, the
public monument, and the school; these are places
that direct the spaces of our awareness. They are the
enactors of our identity formations and construc-
tions, but it is sometimes forgotten that it is our
humanity that has allowed for their existence. Our
conceptual tools are controlled vis à vis the physical
command of space and the place of architecture.
The site itself dictâtes our understanding, therefore,
once the site hecomes revealed of its function, in
the clearest and most direct way possible, that being
the agenťs cognizance of their immateriality and
hniteness within the consuming world, consumption
becomes control. Through an aesthetically consumed
commodity, we are activated as agents of control.


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Our consumption of the work then activâtes an
awareness of the spectacle, communicating a po-
tentiality for itinérant participatory measures within
the urban public sphere(s). By consuming the spec-
tacle, there is an opportunity to own it, to change
it, to remove it, to become an active contributor in
the création of the spectacle, rather than a passive
recipient of everyday order. These pièces commu-
nicate the ease at which créative participation can be
fulftlled in public in a way that is not damaging to
what is already there, thereby becoming post-spec-
tacle by the residual effects they engender. They are
examples of what is feared most by those in power,
that the many could realize the potential they hold
to activate their space, their place, and ail at once
become active agents in manipulating independently
and participating anonymously in itinérant post-
spectacle practices that foreground their place and
agency over values of us and them binaries of ruler

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