Embodied Knowledges

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Из курса от партнера Duke University

ART of the MOOC: Activism and Social Movements

38 оценки

Duke University

ART of the MOOC: Activism and Social Movements

38 оценки

This course is for activists, artists, and thinkers who wish to better understand and participate in social change. We will focus on the prolific and exciting overlap between socially engaged art and cultural practices generated by recent social movements around the world. Rather than assess the political efficacy of activities like mourning, listening, organizing, dancing, or partying, the lectures examine such cultural activities next to, and within, contemporary art practice. Included in the course are guest presentations by key artists, activists, and scholars, like: Rebecca Gomperts, Chido Govera, Gulf Labor, Hans Haacke, Sharon Hayes, Jolene Rickard, Gregory Sholette, Joshua Wong, and many more. Designed by artist and Duke professor, Pedro Lasch and co-taught by Creative Time artistic director, Nato Thompson, the course challenges learners to treat the MOOC itself as a social and artistic form. This happens mostly through the practical components, local project productions, global exchanges, and critical feedback. While no prior art making or activist experience is required, projects also offer challenging options for advanced learners. For other course offerings or language versions in this series, just search 'ART of the MOOC' inside the Coursera course catalogue.

Из урока

Embodied Knowledges - Lectures, Guest Presentations, and Quiz

This lesson will use the notion of ‘embodied knowledges’ to link activism and socially engaged art to performance art, gesture, and ‘writing without words.’ Recognizing that knowledge is inseparable from one’s lived, physical, and social experience, ‘embodied knowledges” challenge the Western paradigms that separate information from matter, reason from affect, mind from the body, the worker from her labor, the individual from the collective. This lesson’s practical components will ask students to actively think ‘from’ their particular site of enunciation and ‘through’ their particular embodied knowledge. Guest presenters: Mujeres Creando, Regina José Galindo, Mariam Ghani, Sharon Hayes, Chemi Rosado-Seijo

Embodied Knowledges6:38

Prompt-Overview of Project and Peer Assessment3:34

Познакомьтесь с преподавателями

Nato Thompson
Chief Curator
Creative Time
Pedro Lasch
Visual Artist and Associate Research Professor
Duke Art, Art History & Visual Studies

Imagine you're in the middle of a fog.

The fog is so thick that you can barely see the person in front of you.

Artist Teresa Margolles produced a work in 2002 called Vaporisation, Vaporization.

In this work,

the experience I just described is what art viewers went through.

But only after experiencing this did they learn that the fog was

produced with the water that had been used to clean the dead bodies at the morgue.

Social art doesn't only have to be about the relationships between the living.

It can be about the relationship between humans, non-humans, like animal species.

But in this case,

it can be about the relationship between the living and the dead.

For her major retrospective at the Museum of Modern Art Artist,

Marina Abramovic sat in a chair all day, every day,

as lines of museum visitors waited to sit down in front of her and just look at her.

She did not talk, all she did was stare into the distance.

The relationship between the living and

the dead that we talked about in Teresa Margolles work

has here become the relationship between silent beings.

Living human beings.

Of course, some of the visitors that I'm about to show

decided to engage with her in all kinds of ways.

They weren't silent.

But her engagement was silent.

It was simply an act of presence.

That is why the work is called, The Artist is Present.

And that performance gave the name to the entire retrospective.

The presence of the artist in relation to the body of the viewer

is one way of approaching this idea of social relation.

But we could also think about the absence of the artist.

Or the appearance and the disappearance of the artist.

Artist Fred Wilson has now produced a couple of decades of work

in relation to how people relate to institutions.

In a body of work called, Guard's Views.

And another one called My Life as a Dog.

Wilson explored his own personal experience as a former museum guard,

but also the social hierarchies and relationships that are at play

in art spaces, specifically in relation to our body.

In My Life as a Dog ,Wilson basically introduced himself

as a gallery guide, gave nice explanations on the artwork.

And then would disappear and change clothes into those of a museum guard.

He would then stand at the entrance and not surprisingly

would not be recognized by the very people he had been talking to before.

Fred Wilson is African American.

And people who often go to galleries and museums,

at least in the US, are quite used to ignoring the guards.

And guards, especially in cities like New York, happen to be

to a large degree African American or belong to other minorities.

In guard's views and other pieces he also explores these ideas.

Another variation of the project is one where he actually dressed as a guard,

starts to move away from that position of the guard,

explaining to people who just happen to be in the gallery the artwork, etc.

And people are quite distraught, they don't know what to do.

Some people get very excited that a guard cares this much about the work.

But others actually go to complain at the desk and say, this guard has gone crazy.

He thinks he knows stuff about the art!

What do these three artworks have to do with each other?

The thick fog of water used to clean the dead in Teresa Margolles' work,

Marina Abramović's stare in the art is present in that line of museum

visitors and Fred Wilson's Critique of museum attendants and

their relationship to the racialized bodies of guards.

Well, this module of the Art of the MOOC, merging public art and

experimental education is dedicated to the idea of embodied knowledges.

Women, minorities, and

majorities of color worldwide have long understood that knowledge is hard or

impossible to separate from one's gender, sexuality, or skin tone.

Linking socially engaged art to performance art, gesture, and

writing without words, as the colonial fuhrers have called it.

This lesson will rely more heavily on the very embodied knowledges of our guest

presenters to understand the sustained critique that much social practice

has launched against western paradigms that separate information from matter.

Reason from affect, mind from the body,

the worker from her labor, the individual from the collective.

This lesson's practical components will ask students to actively think from their

particular sight of enunciation through their particular embodied knowledge.

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