Who does public space belong to?

How much of it is mine?

With the knowledge that no intervention in public space can be apolitical, that artwork takes the local socio-economic, historical and political contexts in to account, which are inherent to the specific topography. This work explores also the integration of preliminary, or more precisely, the possibilities of the artwork and its instability, in the occupation of public space.

That Artwork regardless of whether primary motivation is political, or aesthetic, incorporates this time-limited existence into their structure in its original form. It is one constitutional element of the artwork, the design accommodating its own fragility, which arises from the typical “weathering” on site. Of course also refers to the “involvement” of the exhibition-goers.

My work will be subject to the “weathering” circumstances specific to this particular area and the particular time span (from several days to a couple of weeks).

These circumstances then in turn result in the regional influence of the current public mood on the artwork themselves.

The structure and aesthetic of this artwork will also doubtless show progressive signs of change and decay with the passing of time. Visible ageing, and the traces left by visitors are included as a creative, vandalistic exchange during the exhibiting.

The basic idea is displacement. The Berlin „Litfaßsäule“ (a advertising pillar invented in Berlin in 1845) will be imported to countries which don’t have such an element in their urban space.

The dislocation taking place is doubled. The original element of Berlin city environment has been territorially shifted and it’s contents–announcement posters for current Berlin art world events–are now unavailable. Exhibition time,  from 1 week (hopefully) up to the destruction.

by Renata Kaminska

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