{"id":21203,"date":"2016-02-13T21:09:22","date_gmt":"2016-02-13T13:09:22","guid":{"rendered":"http:\/\/benayoun.com\/moben\/2016\/02\/13\/from-play-to-dysplay\/"},"modified":"2020-01-12T13:34:20","modified_gmt":"2020-01-12T05:34:20","slug":"from-play-to-dysplay","status":"publish","type":"post","link":"https:\/\/benayoun.com\/fr\/2016\/02\/13\/from-play-to-dysplay\/","title":{"rendered":"from Play to Dysplay"},"content":{"rendered":"

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Overscale<\/span> Art<\/span> in Public<\/span> Space<\/span>: from Play<\/span> to Dysplay<\/span><\/h2>\n
ISEA2016 Hong Kong, panel moderated by Derwin Scott \u00a0Hessels<\/div>\n
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Street art<\/span> has reminded us again of the power of media when artists practice outside of the white box. \u00a0For centuries the frame separated the art<\/span> from the \u201creal\u201d world, a boundary which was questioned by the introduction of screen technologies. \u00a0More recently the screen has expanded, invading the walls, the fa\u00e7ades and now the very skin of the building itself. \u00a0Light and image are covering entire buildings in a way that, beyond any previous definition of screen, the urban architectural complex has become a medium.<\/div>\n
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After the painting frame, the veduta, then the painted wall, and now the urban screen have each had their turn as places for the exaltation of the symbolic dimension of architecture. In each case, media scale was seen as a way to draw the public<\/span>\u2019s attention. \u00a0At one time the skyscraper itself was enough of a statement, now it has been overwhelmed by the greed of the market keen on capturing consumer attention. \u00a0Simultaneously, architects are understanding that adhering LED screens on buildings was merely a temporary phase in the evolution of the complex relation between architecture and image.<\/div>\n
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The first use of these massive urban displays was expectedly commercial. \u00a0The public<\/span> space<\/span> became a gigantic stadium where commodities compete to catch the citizens\u2019 attention: fancy watches v.s. expensive sedans, sexy models v.s. sparkling jewelry. Converting the world into an ever-expanding shopping mall, the market has extended display beyond Guy Debord\u2019s anticipation of the society of the spectacle forcing us to now ask, \u201cWhat could be or should be the position of the artist in the urban landscape?\u201d<\/div>\n
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Artistic display from play<\/span> to \u201cdysplay<\/span>\u201d<\/div>\n
We are seeing more examples of how the artist\u2019s expected contribution to urban media is to\u00a0convert\u00a0 the public<\/span> space<\/span> into an entertaining place. The artist\u2019s expertise in terms of public<\/span> interaction is considered a great asset in playing this role and adding to the market-driven game. As part of this panel presentation, we will investigate\u00a0the possibilities of the artist subverting the role of entertainer. \u00a0Can the artist use his tools to dysplay<\/span> the game, disrupt the Spectacle, produce the unexpected and therefore make it more significant?<\/div>\n
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Media artists are among the first to explore the potential of expression presented by the building becoming a light-emitting object. \u00a0Artistic practices started to invade, and perhaps even to pervade the urban space<\/span> by converting the whole city into a media, an \u201curban media\u201d. \u00a0However, the question of the artist\u2019s legitimacy of taking over the public<\/span> space<\/span>, fighting for public<\/span> attention is not a simple one. \u00a0In a museum or gallery, the visitor makes the decision to face new objects of artistic expression. In the public<\/span> space<\/span>, however, passers-by don\u2019t ask for art<\/span>, they are just retinal targets. What allows the artist to fight for unsolicited visibility? Large scale architectural display creates a discussion where both aesthetics and ethics must be considered.<\/div>\n
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Through curatorial and artistic projects like Watch Out!<\/em> (Seoul, Athens, 2002-2004<\/a>), Emotion Forecast<\/em> (Paris, New York 2011-2012<\/a>), E-Scape Today<\/em> (Seoul, 2012), Open Sky Project<\/em> on the ICC Tower (Hong Kong, 2012 \u2013 now), the panel presentation will explore the limits and the potential of large scale urban media art<\/span> practice.<\/div>\n

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