Participation and creation: approaches towards an eco-systemic understanding of artistic practice
Summary, in English
The first example is ‘I play Northern Lights’, a piece created by Halla Steinunn Stefánsdóttir for ensemble Nordic Affect’s concert in the Northern Lights Hall in Harpa, Reykjavík. As an activation of space ‘I play Northern Lights’ was instigated from a curatorial point of view as a piece that would challenge the audience’s perception of the concert hall environment. It represents a performer’s active engagement with space: a method to break away from tradition and in so doing, exploring whether new aspects of the environment’s structure can be revealed.
The second example is taken from the work of the Landscape Quartet, a group of sound artists dedicated to the creation of ecological sound art which takes participation as point of departure, with the wish to align with “a broader set of cultural practices in which the imperial power of “the human” over the rest of the world is shifting in favour of what we might call a more eco-systemic engagement” (Hogg, 2013, p 1). But how can one understand the artistic processes at play in such participative forms of artistic practices? Can ecological sound art prompt different understandings of the relation between artist and artwork as well as between human and the natural environment?
- Teachers (Malmö Academy of Music)
- ecological sound art