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ART of the MOOC: Activismo y Movimientos Sociales

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Duke University

ART of the MOOC: Activismo y Movimientos Sociales

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Este curso es para activistas, artistas y pensadores que deseen entender mejor el cambio social y participar en él. El contenido del curso enfoca en la coincidencia prolífica y emocionante entre el arte socialmente comprometido y prácticas culturales generadas por recientes movimientos sociales en todo el mundo. Más que evaluar la eficacia política de actividades como el luto, la escucha, la organización, el baile, o la fiesta, las conferencias examinan tales actividades culturales al lado y dentro de la práctica artística contemporánea. El curso incluye presentaciones de importantes artistas, activistas y académicos invitados como: Rebecca Gomperts, Chido GoVera, Gulf Labor, Hans Haacke, Sharon Hayes, Jolene Rickard, Gregory Sholette, Joshua Wong, y muchos más. Diseñado por el artista y profesor de Duke, Pedro Lasch, e impartido con el director artístico de Creative Time, Nato Thompson, este curso invita a todos los que participan en él a tratar el MOOC en sí mismo como una forma social y artística. Esto sucede sobre todo a través de los componentes prácticos, proyectos producidos localmente, intercambios mundiales, y el comentario crítico. No se requiere experiencia previa con el arte o el activismo, aunque los proyectos también incluyen buenas opciones para alumnos avanzados. Para otros cursos en esta serie o versiones en otros idiomas , solo busca 'ART of the MOOC' en el catálogo de Coursera

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La estética, la historia del arte, y las instituciones culturales: Conferencias, presentaciones por invitados, y prueba

Así como los movimientos sociales recientes han transformado el arte y la cultura contemporáneo, activistas han dependido de las ideas desarrolladas en los círculos culturales más especializados, a veces sin saberlo. Empezando con una investigación de las maneras en que el arte público socialmente comprometido ha sido incluido y excluido de algunos narrativas, teorías, instituciones y eventos, utilizaremos esta lección para seguir las prácticas sociales que cuestionan el arte e historia del arte convencional. Al hacerlo, les invitará a los estudiantes crear proyectos que se comprometan directamente en el cultivo, la agricultura, la cocina, o comer—actividades que son fundamentalmente sociales, sino que se ve tradicionalmente en contradicción con la producción artística seria.

Chido Govera8:18

Hans Haacke15:03

Future Farmers8:15

Shannon Jackson13:30

Jolene Rickard12:41

Abigail Satinsky7:27

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

Hello everyone. We're here with a very special guest,

Hans Haacke, as part of the Art of the MOOC Project.

Hello Hans, thank you for being with us.

We mostly wanted to talk about

a project you did a few years ago called To The Population.

As part of our online course, we are trying to understand and

study different definitions of the public, of not just what publics mean,

but also what public versus private means and so on.

And in this project,

you really focused on the distinction between the people and the population.

Can you talk a little bit more about what took you to focus on that distinction?

And what, how the project evolved in relation to this idea of people,

population, and publics?

>> Well, on the face of it, it's probably not so easy to understand for

somebody who doesn't know German history.

This is the project made for Berlin, for

the Reichstag, which is the building in which the German Parliament

has been meeting since the late 19th century.

Until something happened in the '30's, it got burned down, and it's

still up to grabs, who actually burned it down, and to move somewhere else.

And it was only in 1993 or so

in the 90s that of the capital of Germany,

the West German capital moved to Berlin after

reunification of the Eastern's at Berlin

as the capital of the the beginning.

On the facade, [COUGH] late

in the 19th century,

the architect of the building,

Wallot, proposed to have a dedication

to the German people, [FOREIGN].

Since at the time, there was an Emperor,

and he was in fact in charge of everything, he did not want to have

such a dedication on that building.

Maybe because the people [FOREIGN] maybe remembered

what happened by the [FOREIGN] in France, and

he didn't want to promote them in Germany.

[INAUDIBLE]

So he was against this.

And then he joined the First World War when

things were not going too well for Germans.

One of his aides told him, Your Majesty,

it probably would be good now to have this dedication,

and he took that advice and agreed.

And the letters were designed by [INAUDIBLE]

German architect and designer, and

they were cast by a sound rate [INAUDIBLE]

sound rate, owned by a Jewish family.

And then, as we know, there was a Republic announced,

actually from the balcony of the building, and

things got very bad in the service.

And as we know, during the what is now called the Third Reich,

when Hitler took over.

People like the foundry owners and

the others who were Jewish wound up in concentration camps that died.

There was a war, and thousands of terrible things happened.

That's the volk, because volk,

all of a sudden, had taken

on a very racist connotation.

And this is what I hope to put into perspective,

not by picking off the dedication itself, but

to introduce the notion that everyone who happens to live in Germany,

irrespective of that has were accepted

Germans in terms of blood, as Hitler defined it.

Whether there are immigrants recent, or

whatever their background is, whoever lives in Germany,

this is a tribute to them and, in fact,

it's a reminder to the members of Parliament

that they are responsible and have to think for

everyone who happens to be.

>> So in a way, it's a whole discussion about citizenship.

Who belongs to the nation,

my blog has various definitions of what citizenship is.

Something that I also think is quite interesting is that there's a crash.

He spoke of precisely this term,

through the population in that moment of Nazi history.

>> Yes.

>> And so, there's also that reference.

In addition, something that to me adds to the great complexity of the piece,

is that you invited the very process through which laws and

politics are made, and the agents who are active in that process.

They ended up becoming participants, willing participants,

but sometimes unhappy participants.

Of the process of creating this extraordinary garden.

You spoke thus far about the facade and the sign.

But inside, there was the text in the form of a garden.

Can you say a little bit more about how that process evolved,

how the Parliament engaged?

They asked you, you were commissioned to make this work, but

then once you proposed it, it went through several stages, right?

Including a short controversy with some representatives who had some issues.

Can you talk a little bit about that,

because I think it's a very important and rich part of the project?

>> Well, my proposal as I submitted it to the art community of

the art community is composed of representatively by percentage, but

members of the older departments in Holland.

My proposal was to have in the Northern opening chart two,

the dedication to the population.

They have [INAUDIBLE] instead of them [FOREIGN].

But overall, there is a qualification, Dutch.

>> Yeah.

>> In other countries, it would not matter.

You see somebody dedicated to the American people, nobody would think twice about it.

>> Because of the ethnic history.

>> Right, right.

So I, in the same typeface [INAUDIBLE].

I had the dedication to the population of the city [INAUDIBLE]

throughout the territory of Germany.

And I invited all members of the Bundestag to bring.

100 pounds of soil from their constituency

entered this and spread it around the letters,

and thereby, in a symbolic way, say yes,

we dedicate our heart and soul of our constituency to this.

I wish.

>> Mm-hm.

>> The art committee approved it with overwhelming majority.

There was only one dissenter.

And then there were discussions, and

the one dissenter In effect, started a campaign against it.

She was a member of the Christian Democratic Party, at the Center of Light.

That party in Germany.

And the press, the media was fronted as well.

She really got involved, and

so, it became a national debate.

Whether somebody that appears to be

innocent should be put into this kind of perspective.

And because of the bi laws in the Bundestag,

after some 158 members of Parliament demanded it had

to be called an open debate

of the entire Parliament had to be called and voted on project,

even though the art committee had okayed it several times, as well.

>> Do you know when the last time was in German history, or any other country's

history that the entire floor was taken by debating a public art project?

It's not very often that that happens.

>> No, I don't, in.

I don't know, yeah, in a way you could

say what happened during the [INAUDIBLE] or the 70s, yeah.

Actually, yeah, in the 80s.

[INAUDIBLE] That's when [INAUDIBLE]

became a public issue, and in effect,

as the result of the NEA was cut down,

it could no longer operate as it did before.

>> Yeah. And

is the garden still, because I remember when it was first

produced there was a webcast where you could see images of this growing garden.

Is that also- >> [CROSSTALK]

>> It's still part of it.

But let me just refuse the word gardening.

There is no gardening.

I deliberately pointed out it's part

of the proposal, as it was accepted that

no clipping, no cleaning, no nothing is to be done.

My assumption was that in the soil,

naturally seeds and worms and all sorts of other stuff.

And they were to be growing freely without any interference.

>> A wild Democracy.

>> A wild- >> Vegetation.

Or an English garden in Germany.

[LAUGH] Well, the English also take care of their gardens.

They pretend like they don't take care >> Well,

it would affect the, I don't believe that it wouldn't.

>> Mm-hm, mm-hm.

>> I imagine that London, and

that respect would be the same as New York.

If you wanted to do something like this under

the auspices of the Mayor's office saying that.

With Wall Street, and through a particular lens.

I, no matter who is the Mayor,

I think we have had a chance to be approved and

paid for the Mayor's office,

impossible [INAUDIBLE] culture,

and I have to hand it to people in the UK.

There was an independent jury, and they liked it, and

they chose it, even though the jury was had been appointed by the mayor.

>> Yeah.

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