What does the concept of social space mean to artists, and where do audiences fit in?
When Becky Shaw was commissioned to conduct a series of interviews with a diverse range of artists she noted that It has become a well-rehearsed convention to talk of artists working in the social realm, in society or in social space. Whilst some artists [interviewed] consider the social realm to be the environment of their work, others query whether social means community and political means government. There are others who claim their work objectifies society or is anti-social. A number suggest their practice only appears social through its medium and in reality isnt at all. Some describe the networks that validate the visual arts as their place of work, and others describe advertising, politics, finance and institutions as social spaces. Many state that the social realm is not particular people or a defined place but rather every aspect of life that human relationships have created, including the art world.
So what does this mean for audiences and their development? What do artists themselves think about their responsibility and relationship to audiences?
I used to think obsessively about audience. Like art Im not sure that the concept of audience works for me any longer. I think its about developing a relationship with people, place and ideas, like a kind of social architect, a performer whos not performing, a planner with soul, or a friendly face. I hope that my practice has generated some small shifts in perception and opened up possibilities for other artists. Im a professional. I look like I know what Im doing. To some extent the work validates itself through staking out its own domain.
Richard Layzell, artist
I would have to describe my audience as either being small or tiny, and that my practice is validated by a small clique (of which I am part). Step outside of this clique (i.e. friends and colleagues in London), and often you find any supposed reputation is ultimately meaningless.
Robin Deacon, live artist
The audience is wherever the work finds itself. You come from the centre and return to the centre. The centre is wherever you are. No need to survive. The work is validated by its existence and disseminated by the imagination of present observers.
André Stitt, live artist
Through the development of my projects, I came to a kind of self-sufficient strategy that operates in direct contact with the audience: the objective is to contaminate the participant with a kind of virus that would then circulate into ones body, producing the becoming effect. Its necessary to produce an intensive experience as a sort of artificial memory.
Ricardo Basbaum, artist and writer.
These extracts are taken from Social space, the second title in the Future Forecast research-based publication series from a-n The Artists Information Company.
w: http://www.a-n.co.uk.