Share some inspirations

This topic contains 79 replies, has 62 voices, and was last updated by  Vertical Kate 7 months, 3 weeks ago.

  • Creator
  • #3087

    Use this thread to discover some projects or share external links to videos or photos of art in public space projects that have left a mark on you. Add a short description of the content to your links. This thread will be accessible and open to contributions throughout the MOOC. Remember to come here regularly!

  • Author
  • #24075

    Vertical Kate

    Host by Vertical Dance Kate Lawrence

    I want to share this work I made with students of Circomedia in Bristol as it had a very big effect on me as a choreographer and I’m really grateful to the students for their fortitude and determination in completing this incredibly challenging project. MOOC have showed video of the second performance of this work in Worthing, so I wanted to show the first performance on the historic cranes of Bristol docks. The reason is because the two sites are so different. The first performance was is the pouring rain, with hardly any audience. The performers were given the choice to cancel but they really wanted to do it. I was somewhere else, working on another project but the students got their friends to film it so I could see it and I created this little film to document it. The work is inspired by the angels in the Wim Wenders film Wings of Desire. The idea that there are spirits watching over us and that at a specific moment they come down to earth to be among us – we might notice them or not. Once they land on earth they disappear into the crowd, slipping into the ‘infra-ordinary’ (Pascal Le Brun-Cordier). I really felt that the work was discreet at Bristol Docks because no one looked up because of the rain. In Worthing, in contrast, the sun was shining and the audience gathered some distance away to watch. Very, very different performances of the same idea. If you look at both you can see how different the spaces are.

  • #23104


    Panorama Kino Theatre (CH/AUS)

    To see not just look…
    to experience not just sense.

    Panorama Kino Theatre redefines the theatrical experience as its rotating viewing cabinet transforms reality into fantasy, provoking our senses and re-mystifying the world we inhabit.

    Panorama’s innovative approach to theatre is based on a pop-up structure which rotates 360º on its own axis. Through a window, the audience experiences the world outside. Over progressive rotations that world starts to change, evolve, abstract. Not just through the actions and interventions of the actors outside, but also through the general public, who find themselves becoming an integral part the story. The observer is no longer simply a consumer of theatre, but co-creator of it.

    Site: Panorama Kino Theatre

    Videos: Panorama Kino Theatre
    Promo Video 2018

  • #22870


    São Paulo’s Mackenzie school of Architecture’s feminist collective, Colectivo Zaha, made an installation exposing the sexist and misogynistic comments said by male teachers to female students during classes. They printed the comments on posters and placed them all over the school’s walls.

    Some comments are plane misogyny, other cross the line on harassment. Most of them are quite disturbing, but frame well the reality of being a woman and studying architecture. Here are some, translated:

    “Your project sucks. You could’ve at least come to classe wearing a mini skirt.”
    “Did you cut your hair? Did your boyfriend let you?”
    “Slavery was abolished. At least we still have women.”
    “If you want to give a punch, punch a woman, just don’t punch a structural wall.”

  • #22305


    'Good Works' art mass and 'The Rite of Spring' dance spectacle attracted an audience of some 15,000 to the Cathedral of a rural Irish town.

    These large scale back-to-back spectacle artworks that headlined the Fleadh Cheoil na hÉireann 2012. The ‘art mass’ was lead by the commissioned visual and performance artist, John Byrne, and featured contributions from a number of select artists and was attended by an audience of over 3,000 inside the cathedral. ‘The Rite of Spring’ curated by dance artist Breandån de Gallai, in collaboration with Fidget Feet Aerial Dance Company and featured a live performance of the original score on the steps of the cathedral on two grand pianos, attracting some 15,000 people. This basis of this commission was inspired by the architecture of the cathedral building, which dominates the town and also has very valuable windows, original artworks by the late stained glass artist, Harry Clarke.

  • #20676


    In 2019 K6 Gallery re-commissioned a long forgotten public art project in Southampton, UK. A poet, Ella Frears, and photographer, Toby Glanville, were invited to spend time in residence riding the city’s buses and create new work. The results were then exhibited on board the buses. The launch event included live readings and a bus tour along the number 17 bus route.

    • This reply was modified 10 months, 1 week ago by  alex.
  • #20523


    href=””>Reply To: Share your inspirations!
    In the early 80’s I became the director of a foundation formed to preserve and to integrate this outsider work of monumental art into Houston’s art community, The Orange Show.
    The Orange Show in Houston, Texas
    There, we documented and helped to preserve other outsider environments, like the Beer Can House.
    Beer Can House
    We created a parade – now 30+ years old of automobiles that artists of all descriptions made into moving works of art. Art Car Parade images
    Now, I am the programming director for an active park in downtown Houston, where we present hundreds of event each year, including street theater, circus and immersive public art. Discovery Green

  • #20008

    Eliza Soroga
  • #19817

    Prof Rees


    ADAIN AVION – Wales’ flagship project for the London 2012 Cultural Olympiad and London Festival 2012 took the form of a DC9 Aeroplane transformed into a mobile arts space, social sculpture and travelling time capsule that migrated around Wales nesting in key locations where the local community pulled the plane into position. It then acted as a catalyst/magnet for a week long programme of events in each location with over 2,000 participants, 50 artists and 65 community groups involved in the project, 150 events in total and an overall audience of 48.000.


    • This reply was modified 10 months, 2 weeks ago by  Prof Rees.
  • #19801


    Fugit, From Kamchatka is an immersive theatrical experience based on the story of the civil war in Spain.

  • #19660


    • This reply was modified 3 weeks, 4 days ago by  Admin FAI-AR.
  • #19541


    These are links for a community participation event by nofitstate ( Ali Williams productions) in public space

  • #19376

    Prof Rees

    AGORA – an independent space to imagine a future

    Commissioned by The National Eisteddfod / Visit Wales, produced by Ffiwsar

    ’The democratic pavilion of 100 black painted doors at the Llanrwst Eisteddfod, the doors that invited us to project mass imaginative strategies on them, will remain in the memory, symbolising the threshold we are at today and that the tide is beginning to turn.’

    Dylan Huw, ‘O’r Pedwar Gwynt’ ( translation )

    AGORA celebrated the rural North Wales town of Llanrwst’s historic bids for independence. In 1276 Llewelyn ap Gruffudd the last true Prince of Wales proclaimed that the free Borough of Llanrwst was autonomous of the diocese of St Asaph. In 1947, Llanrwst town council made a submission to the United Nations for a seat on the security council, stating that Llanrwst was an independent state within Wales. This bid was unsuccessful but the hunger for independence within society persists.

    I wanted to shine a light on Llanrwst’s historic yet topical reputation by constructing a temporary independent space in which to imagine new possibilities and visions of the future; creating an agora, a gathering place for the assembly of active citizens.

    The project’s egalitarian foundation was represented in its very fabric. We invited the people of Conwy to donate their discarded wooden doors, a 100 of them – ranging from farm, hotel, pub, office to toilet doors with which we then built our own AGORA.

    Inspiration for the design came from the recent unveiling of Llys Llywelyn at St Fagans. This re-creation of a Royal Court of the Princes of Gwynedd was based on the surviving remains of Llys Rhosyr in Anglesey.

    Nothing remains of the original court apart from its foundations which have provided the clues for archeologists and architects to interpret and re-construct the Llys Llewelyn. Our AGORA is a re-imagining of their re-imagining.

    During the Eisteddfod I programmed a number of events – discussions, performances and concerts,12 in total within AGORA and also conceived three splinter performances that took place around Conwy – Ôl-Llywelyn, LLinell | LLinyn and Wal Werin.

    Images: Keith Morris


    Design Team : Jenny Hall Crafted Space & Tabitha Pope

    Fabric : Melin Tregwynt

    Creative Producer : Iwan Williams Ffiwsar


    Performer : Eddie Ladd

    LLinell | Llinyn

    Choreographer : Matteo Marfoglia

    Performers : Angharad Harrop, Angharad Jones

    Harp : Helen Wyn Pari

    Sound Artists : Alan Chamberlain, Ed Wright

    Mist (installation)

    Artist : Sébastian Preschoux

    Curator : Karine Décourne, Migrations

    Wall Werin

    Choreographers : Kate Lawrence, Angharad Harrop

    Performers : Lisa Spaull, Angharad Jones

    Harp : Ceri Rimmer

    • This reply was modified 10 months, 3 weeks ago by  Prof Rees.
    • This reply was modified 10 months, 3 weeks ago by  Prof Rees.
  • #19024


    Sisters Cie MONSTERS

    Monsters are a short piece from the indoor show CLOCKWORK realise in 2013 by Sisters Company.
    The performance that you can see on the link been realise with the idea to make interaction between the creature created by the three artist of the company and the Swedish audience that circulate inside the subway and central station of Stockholm.

  • #18963


    Self-portraits of the Oude Westen neighborhood in Rotterdam.
    A community art project in which a visual artist and writer visited 15 social meeting places in 1 neighborhood, to invite people to draw easy-to-draw abstract patterns on furniture and while drawing, to share their stories. The stories were written down and collected online. At the end of the tour there was a living exposition – with all the objects of the 15 places, guided tours in which some stories from the neighborhood were read and discussed in small groups and some performative moments inspired by the tour.
    After the exposition the pieces of furniture returned to the different places, to take up their normal functions again, enriched by the memories and stories connected to the project.

  • #18698


    The Storr was a work by Scottish landscape art collective NVA which ran for 7 weeks in 2005.

    NVA’s work spanned light installation, architecture, environmental art and many other forms. They were most famous for their landscape performance works, many of which took years to plan and create.

    The Storr took the form of a guided night-time walk, leading the audience halfway up a mountainside on the Isle of Skye. The work contained elements of light, sound and video installation, dance, music and storytelling. For those travelling from Central Scotland it was necessary to spend 8 hours travelling to get to Skye, before staying overnight on the island and travelling the whole way back again. Once there the show involved climbing almost 1,400 feet of hillside in the dark, guided by volunteers from the local community.

    The demands involved in taking part in the work lent the whole thing an atmosphere of going on a pilgrimage – having to take several days away from your ordinary life to travel to a special, almost sacred, location and undergo a special type of experience with a small group of strangers.

    More info, including a background video on the making of the work, is online at:

    The Storr

    NVA was established by Angus Farquhar, a member of the influential industrial music group Test Dept. According to the website ‘NVA is an acronym of ‘nacionale vita activa’, expressing the Ancient Greek ideal of a lively democracy, where actions and words shared among equals bring new thinking into the world.’

    • #23095


      Panorama Kino Theatre (CH/AUS)

      To see not just look…
      to experience not just sense.

      Panorama Kino Theatre redefines the theatrical experience as its rotating viewing cabinet transforms reality into fantasy, provoking our senses and re-mystifying the world we inhabit.

      Panorama’s innovative approach to theatre is based on a pop-up structure which rotates 360º on its own axis. Through a window, the audience experiences the world outside. Over progressive rotations that world starts to change, evolve, abstract. Not just through the actions and interventions of the actors outside, but also through the general public, who find themselves becoming an integral part the story. The observer is no longer simply a consumer of theatre, but co-creator of it.

      Site: Panorama Kino Theatre

      Video: Panorama Kino Theatre
      Promo Video 2018

  • #18694

    Julie Ann

    Inspirational things I saw this year
    Joyous Urban Mess Les Vernisseurs explore connections between visual arts and the theatre, using the street as a playground in which they interact with audiences in joyful, celebratory performances. In this spectacular performance the street becomes a playground for ‘five workers,’ who end up showering themselves and audience in confetti, ribbons and streamers.
    I liked its simplicity and the enjoyment it gave.

    Crosei Traeth/ Crossing A Beach
    Sleep came and locked my eyes/ And then I dreamed a marvellous world

    A dance performance on Harlech beach

    Margaret Morris was a dancer and she came to Harlech in 1919 to hold a summer school. Others join her in the beach-dream, amongst them film director Roman Polanski, who shot Macbeth on Black Rock sands; Meibion Glyndŵr’s incendiaries; the archangel Michael and other intriguing flying objects; and Ellis Wynne, the sleeping poet himself.
    From the sands, you will see a new world, with the help of headphones and…a spying glass.

    Great story telling through dance on the stunning setting of Harlech beach, the technology was used really well in this setting and delivered a very personal experience.

  • #18600


    About the Project

    <<Fuck the Fascism intends to help expose the true story behind monuments which glorify genocides, tyranny and slavery; to raise public awareness about the national heroes who we praise, those men who our streets are named after, and bequeathed great wealth forged with robbery, abuse and blood.>>

    Fuck the fascism is a posporno, porn vandalism, and radical artivism project.

  • #18599


    Wandering, strolling for fun, a means of displacement, of revindication, a way of life… this trio of acrobats explore the anthropology of walking. Why must we walk ? And for how long ?

  • #18598



    « Popular and interactive, D-construction questions the profound nature of social links in the public space. What unites us? Separates us? Federates us? To what extent are we able to question the territories, borders and institutions?

    By physically placing the spectators at the heart of the play and urban scenography, we invite them to get involved. To live the experience of commitment and revolt.

    Immersed in the mass, the dancers create confusion in interpersonal relationships. They seek a connection with the audience, they aim to surprise. They jostle and prod into reaction. This is why I wanted to leave an important place to improvisation. Exposed to the audience at all times, even when recuperating, the dancers must be able to adjust their acting at any moment. Supported by the music, their only language is the language of the body. I wanted everyone to have their own. Free gestures. A danced identity. »

    Mehdi Meghari, choreographer

  • #18276

    Mille Lundt
  • #18269


    Virtual reality experience which uses one public space to transport participants to another public space with VR. Inception happens twice; once for the participant audience who is experience two different public spheres at once. And also the second audience – the general public, who do not know they are the audience as these works are not publicised as performances the public view the participant as the performer by chance.

  • #18267

    Mille Lundt

    TAPE RIOT is built on the reality of urban space and the daily flow of those who inhabit it. Initially, it merely causes the onlookers’ gaze to shift slightly, prompting silent curiosity: Is this normal? Is this real? Two dancers disrupt the pace of passersby pushing the degree of dissociation still further. Lines are drawn splitting the space … Are they defining a frame of reference or opening up perspectives to the beyond.? Sounds intermingle and the roadsigns blend in; the traffic flow has switched direction. This dynamism triggers the strange sensation of having seen the urban space quite differently and with a smile… Did it change our way of looking at things? Or just our point of view?

  • #18263

    Mille Lundt

    Johann Le Guillerme

    Architectures by their shape and textures by their mesh, the Architextures are in line with avant-garde utopian architectures, dreams of self-supporting, natural, light, itinerant constructions. They penetrate the landscapes, follow the contours to leave their discreet mark or pierce the supposed harmony. Of sinusoid, conical or helical form, they seem to be posed there, with no other object than to enrich the memory of the places that they invest by the evidence of their presence. But they also disrupt perception, imperceptibly modifying the apprehension of our environment by their dissidence.

  • #18024


    I love the imprecision within a synchronised activity. it\s not taking itself seriously. joy and play out of water

  • #18001


    Luna Mora
    Guaro, Málaga (Spain)

    Luna Mora is kind of a festival that happens every year on September in a very small village in Málaga, Spain. Everyone goes out and pack the streets full of candles of different sizes and colours, and they arrange varied forms with different themes. The steep streets, dark passages and secret corners are something you will find as you discover the exhibition. There are also music, dancing, and typical food and products from different places which last the whole weekend. You can take a look at the festival in the link below:

  • #17930


    Also Video Mapping by Coletivo Coletores- Transmemorial. Exhibited on FLIP 2018. (Festa Literária Internacional de Paraty) Paraty, Rio de Janeiro, Brasil. Strong graphics, indigenous, afro and fringe areas represented on a very delicate political time.

  • #17928


    Red Ball Project. It is a traveling public art piece by American artist Kurt Perschke. Considered “the world’s longest-running street art work” the piece has been to over 25 cities globally and moves through a city with a new site each day of the performance.

    Red Ball Project

    • This reply was modified 11 months ago by  DesireeCB.
  • #17872

    Lew Hodges

    Invisible Dancing 2019 Greenwich

  • #17783

    Marc Hervàs

    “My friend Brutus” is a Contemporary Street Theater Creation about the brutality of life in big cities.

  • #17546

    Jack Bright

    Justice in Motion – ON EDGE

    They approach a difficult topic in a creative way, blending parkour and dance. The athleticism of the performers kept the audience’s attention and you could sense the emotion in the crowd.

    They also have a really strong narrative and a lot of content that explores the subject of the piece, modern slavery, in depth and is a great educational tool.

  • #16305


    Katie Paterson’s project Future Library encompasses a multitude of elements of public practice. It allows participatory engagement across time. It draws us into the environment now and in the future. It leaves a legacy that changes with each new text.

  • #16183

    Francesco C.N.
  • #16162


    Vertical dance on public spaces:

    The vertical dance has this unique feature of interacting with monuments, buildings, churches..everything that is perpendicular to the ground.
    The audience is given another perspective by seeing dancers defying gravity, and at the same time, the vertical dance turns the buildings into a stage for performances, providing a completely new view on city.
    In the video one of the most important vertical dance / vertical theater company, eVenti Verticali.

  • #15836


    CCP Flash Mob Performance (2012) [YouTube link]

    This was a surprise performance that was staged at the airport in Manila by the Philippine Philharmonic Orchestra (PPO), alongside key personnel of the Cultural Center of the Philippines (CCP). It was organized as part of the celebration of the 43rd anniversary of the CCP. The CCP was established to preserve, promote, and enhance the arts in the country. The PPO is one of the artistic companies under the CCP. Read more about the performance here.

    Protest against US President Donald Trump (2017) [YouTube link]

    Bagong Alyansang Makabayan (New Patriotic Alliance), a coalition of left-wing groups, mounted a series of protests while the Philippine government hosted the Association of Southeast Asian Nations (ASEAN) summit in 2017. US President Trump was among the objects of their ire. A large effigy of Trump (approximately four meters high) was created by a group of artists and then set afire in public. Read more about the protest here.

    • This reply was modified 11 months, 1 week ago by  randomsalt.
  • #15625


    Vrishabhavati is a river that flows from centre of Bangalore downhill into Mysore road, Raghu Wodeyar dressed as a mystic boater finds himself out of time into now what is a sewer, dressed in apaper boats he rows as the public watches on.

  • #14544

    Gift Return
    ​social choreography as a part of project Zaryadyology

  • #14537


    Anne Imhof. Angst II

  • #14507


    If fish talked about ‘tardeo’

    Since 2008, ‘tardeo’ has transferred nightlife in the afternoon of the weekends reconfiguring the spatial and temporal flows of the center of Alicante. Ten years later, the Mediterranean Aquarium, located around the Tardeo, closed due to low sustainability and the death of dozens of fish.

    Three ephemeral actions built a new Interpretation Center from which to explore the relationships and tensions between the afternoon and the aquarium, based on testimonies and realities of agents involved in these two ecosystems linked to leisure.

    The trophic chain of any ecosystem establishes the alimentary relations between the different animal species. With ENXARXATS, the different Tardeo habitat agents drew up the ecosystem interpretation panel, incorporating a subjective and partial look at the interpretation of the festive phenomenon, surrounded by controversy over the nuisances that physical and acoustic occupation cause the neighborhood.

    A roundtable discussion was held around the neighborhood, businessmen of the hospitality and academics as Jose María Torres Nadal (Architecture PhD) or Alejandro Mantecón (Sociology PhD) of the University of Alicante to discuss among them the various perspectives of the habitat generated around the practice of Tardeo.

    If nature observation centers are usually landed huts as a UFO in natural ecosystems, the Tardeo Interpretation Center is a mobile brunette fish transported by a dozen people. Between the Central Market – the origin of the Tardeo – and the Aquarium of the Plaça Nova, ALLIBERADES traveled with an audio guide to the Tardeo festive landscapes.

    One of the main characteristics of Tardeo is that it ensures a quiet and festive atmosphere. The introduction of a disruptive element such as the moray eel-a piece of cardboard of eight meters long drawn with parametric design by Salva Serrano-generated a new alteration. If the fish were observed in the Aquarium, now the afternoons are studied from the inside of the moray eel.

  • #14018


    Praias do Capibaribe (Capibaribe’s beaches)
    Ephemeral interventions realized in the margins of Capibaribe river – one of the important rivers of Recife, Brazil.

    Sua Incelença Ricardo III (His Excellency Richard III)

    Sua Incelença Ricardo III (His Excellency Richard III)
    Clowns de Shakespeare’s adaption of Richard III, a Brazilian “nordestina” re-reading of Shakespeare’s Richard III, with references to the Brazilian northeast region and British rock. Travelling theatre production performed on the beach.

  • #13958


    Bordalo II is a Portuguese artist who intervenes in public space through the reuse of industrial waste objects, recreating IMAGES OF NATURE,
    It is a shout of rebellion against the city. and an alert griot for the need to wave the beautiful in the city, to take care of ours and others.

  • #13807

    homeless artist draw a bird in a neighborhood in Cairo, Egypt using only a calk and coal

  • #13806


    homeless artist draw a bird in a neighborhood in Cairo, Egypt using only a calk and coal

  • #13663

    Sally Mann

    Location, Somerset, UK
    Somerset Outdoor Arts

  • #13062


    Rocío Molina. Flamenco dancer

    Location: Carmen Amaya Fountain. Barcelona, Spain.
    Performance as part of the Empiric Flamenco Festival

  • #12969


    ClanDestines per Destí? series of performances created with the public space in the MNAC of Barcelona.
    the project aims to investigate women’s condition in modern societies and how certain topic are hidden and aims to make them public.
    It is strongly influenced by the space, a museum showing very different kind of art from antique to modern, each performance is influenced by the arts surrounding it. At the same time, as the audience has an active role, the performance is also influenced and changed by the persons participating or just circulating in the space.

  • #12706


    Inspired by Tino Sehgal engaged exhibition @ Palais de Tokyo, “Carte Blanche”

    From the text:
    Tino Sehgal challenges conventional museum exhibition precepts by placing a central focus on social interaction, rather than the inanimate object. His artworks are brought into existence through human capacities such as dance, speech and song, and are present during the entire opening hours of the show (from 12 October to 18 December). Often involving the visitors, each work has its own specific emotional and aesthetic nature.

    This explains what happened

  • #12699

    Edwige Dubois

    Fragment d’entr’EUX // Compagnie malaxe

    I’m not sure what this piece expresses exactly but I love the esthetic, the emergency in the first part, how the space is being transformed all along, and THE MUSIC played live.

  • #10407

    Tanya V

    Radio Ballet
    Leipzig Main Station 2003

    When creating a work that involved moving an audience, I heard about this Radio Ballet from another artist.Neither of us have experienced it in person, but it has left an impression on my work! It seems to have been from before all the flashmobs and I love that the technology is harnessed in a way that would have taken quite a bit of organising as not everyone had a smart phone and internet at their fingertips. Such a great example of the activation of public spaces through artistic interventions.

  • #10380


    Sorry this is so long but it is important in the history of art in public space. The Mutoids are what turned me on to art in the street, in the warehouse, with a beat, with a passion. Creating your own agenda working in the cracks in between what is there and what is expected. The motivation was to have a party while the ship went down. They laughed at everyone especially themselves. They made something out of nothing especially junk, derelict spaces and kids thrown away by society. Driven by pure Rock n Roll and diesel fumes the Mutiods were my first artistic love affair

  • #10252


  • #10251

    Reply To: Share your inspirations!
    I experienced the work of Liesje van den Berk during a period she had a space in the Amsterdam Central station beginning 2019. In this interactive drawing performance the act of drawing is the artwork itself. Liesje van den Berk researched how to connect with people, to communicate with each other not through the image of the drawing but through the act of tracing together. A continuous line was made in one to one interaction on a metal table, producing not only a drawing, but also a connection. Every person has his own way of dialogue in sounds, rhythms, tones and lines.

  • #10181

    Sophie Maurice

    VJ suave is a mapping artist. He creates walks in the city to rediscovered the walls, the places, the garden… He projects images and creates them in real time during the walk. All his equipment is on a bike, who makes it really flexible and easy to move. He adapts his projections and the flow of the images depending on the reaction of the audience.

  • #9707


    El sigiloso conjuro de lo salvaje

    The stealthy incantation of wilderness

    El sigiloso conjuro de lo salvaje (the stealthy incantation of wilderness) by Liga Teatro Elástico Is a mix between a puppet crafting workshop for youth and a street performance that builds and brings to life a pack of Mexican wolves and a deer that will perform the dance of Hunter and pray that allow life to flourish.

  • #9678


    Szabihíd is a non-profit cultural event, an occasion for the pedestrian use of the Liberty Bridge. Its aim is to bring people closer to urban spaces, to their city and to the river that runs through it, and uncover the opportunities lying in our public spaces.

    With collaboration of The Municipality of Budapest, VALYO (Város és Folyó – City and River) reopens the Liberty brige for the pedestrian use for 4 summer weekends.

    The Szabihíd Project continued in 2018 as well. Now it became a routine for city-dwellers to take over the bridge. It became natural to use the bridge as a public space. People enjoyed the freedom of Szabihíd lounging in the hammocks both provided by Valyo and brought by themselves. They organized sporting events, dance performances, yoga classes, parties. The Szabihíd Project irrevocably became a part of Budapest

  • #9152


    Sorry couldnt get link to work on previous post here is the clip of Wayne dancing!

  • #9148


    Old style dance halls in England such as the old Wigan Casno and the current Working Mens Clubs function rooms are the hidden spaces that are still inhabited by the original dancers of the Northern Soul .movement started in the early 1970s. The linked image is Wayne ai friend who is in his late 60s dancing and connecting back to the time when he took his first steps onto the floor.

    As an artist in my 60s Northern Soul events and the pdance floor provide an in the moment experience to share a passion for the music and create physical movements and stylised steps that are individual and can never be repeated..

    There are many people like me in their 60s who are actively involved in this sub culture and who are key actors at each event . They are unique shared experiences and introduces questions about societal perceptions of ageing.

  • #9027


    ‘Winter Stations’ in the ‘Beach’ neighbourhood of Toronto

    The above link is photos from the interactive public art installations ‘Winter Stations’ that happens every year on the beach along Lake Ontario in the ‘Beach’ neighbourhood in Toronto. These interactive art installations change every year and appear for a short time during the Winter. I like that this encourages public enjoyment of the beach at a time when the weather normally makes it an abandoned and desolate place
    The link above is from ‘Nuit Blanche Toronto’. As part of an international project in cities across the world, Toronto is just one of the cities that come alive for one night with interactive public art throughout the city and people out all night enjoying it. I love the open inclusive atmosphere and the willingness of the public to try and experience new artistic things with other members of the public.

    • This reply was modified 1 year, 5 months ago by  lindatheron.
  • #8855

    Maria Florez

    Desorden en la via pública – a documentary on El Tuga, mime and clown

    When you are one with the streets, and you give your heart to their people. A character that defies all norms, shows us the beauty of the present and gifts us with a good time to forget all the worries. Earning a living on the street being a world-class mime and clown. Giving your best everyday without expecting money out of it.

  • #8746


    Pop-up Noise: Soul Searching

    Soul Searching is a site-specific project based at Kreta Ayer Square in Singapore’s Chinatown where a variety of young artists were commissioned to respond to the space, its people and activity. This culminated in a 10-day installation and pop-up performances and open art jams.

  • #8742


    Some additional from our own catalogue

    When We First Met:
    one on one audio-guided performance
    When We First Met

    Spontaneous Library Party
    public intervention
    Spontaneous Library Party

    Urban Playground project – Toolkit for Urban Exploration
    chalk interventions
    Toolkit for Urban Exploration

  • #8692


    Dachshund UN by Bennett Miller

    Dachshund UN

    Welcome to the Dachshund UN assembly where the roles of the representatives of the 47 member states on the UN Human Rights Council are played by… dachshunds!

    They might be named Ruth, Otto or Pitou. Their brown, black or beige coats add colour to the décor. The Chinese member barks, the Pakistani grunts or yawns, the American scratches furiously while the French representative enthusiastically licks the Russian. Part free-for-all, part joyous tumult, the outcome of their vigorous debate remains up in the air. Welcome toDachshund UN, where the roles of the 47 national delegates on the UN human rights council are played by… dachshunds.

    In the heart of Place des Festivals (Montreal, Canada), the Australian artist and sculptor Bennett Miller showcased in 2013 a miniature replica of a former United Nations office in Geneva. The dogs frolic, romp and debate under the amused eyes of observers. As a surprising spectacle of canine chaos it is hilarious, but this impudent spectacle of human rights policy and international justice is also seriously sharp. Pay careful attention, ladies and gentlemen, for the fate of human rights lies in the tiny paws of wiener dogs!





  • #8686


    Museum of the Moon

    “Museum of the moon” at the Bentway in Toronto, CANADA.
    This is a 7 metre sculpture installation using light imagery to bring the moon to life. The purpose of this installation is to bring the moon to life and to bring the moon up to a personal level to remind people of the importance and the influence the moon has on our daily lives. With light pollution and sky scrapers its easy to forget about whats in our night skies, when your in the Downtown core of the city.
    This installation is reaching a wide audience with activation’s and other events happening throughout the 7 days of this Moon installation. Events such as Moonlight meditation events, musicians, sign-a long and silent disco events, educational talks and mini films happening in the surround area, they have incorporated other aspects to coincide with this installation to attract people to visit the Museum of the Moon installation.

  • #8678


    Constructlab, Mons Invisible, 2015

  • #8676

    Companie Carabosse, MP2013, flammes et flôts

  • #8549

    Artesorio 147
  • #8544

    Artesorio 147
  • #8424

    Bine Belle Etage


  • #8392


    Two Artists Jump on Tracey Emin’s Bed
    Mad For Real
    Turner Prize Exhibition | 1999

    A controversial one, maybe? I happen to think of galleries as a kind of public space. Having two performance artists break the conventions of gallery patronage to mess with an already controversial work that blends the notion of object/artwork and our participation/perception.

  • #8362


    “Le dernier salon où l’on cause”
    Xavier Daniel & Guillaume Lebourg
    Tempo 2011
    Ile de La Réunion

    • #9231


      Its great to see a seasonally traditional piece brought to life as it can often be seen as to precious a tale- this is quite humorous also with the puppets in the supermarket and more modern settings interacting with the shopping tile and the trolley. I also like the interaction in the nativity setting with spaces for audience members and the puppeteers to set the scene and have fun in that space -framed before they go into the street and as they retreat- it frames it well

  • #8300


    The link above relates to a play originally produced by Runaway Moon Theatre in Enderby B.C., Canada, run by Cathy Stubbington. It is a community-engaged art and puppetry company that my husband has worked with extensively. Witnessing and then being part of their work has greatly inspired and expanded my conception of the role and work of theatre, and values and goals of my own artistic work. More details about this particular project are in the video description in the link.

    • This reply was modified 1 year, 5 months ago by  kcll33. Reason: I included my responses for the quiz unnecessarily on this platform
  • #8276


    Je n’ai pas de lien à partager, car je ne trouve pas sur la toile ce que je cherche. Mais peut-être que les animateurs de la FAI-Ar pourront m’aider à trouver ce lien car j’ai vu ce spectacle à Marseille lorsque j’étais venu voir les projets de création de la Promo 4 je pense.

    La discipline : théâtre, des comédiens professionnels mélangés a des gens du quartiers du panier transformé au fil des mois en comédien d’un soir.

    Le thème : voir le quartier à une époque passé, une autre époque en tout cas. Le thème etait vraiment la rencontre avec les habitants du quartier qui nous faisais découvrir leur rue, leur maison, le balcon et fenêtres et leurs âmes. Créer de lien entre les spectacteurs et les acteurs d’un soir, et plus largement avec les habitants de ce quartier populaire et le groupe de 100 ou 150 spectateurs se déplaçant dans le quartier au fil de l’histoire.

    Le lieux : le quartier du panier, et les comédiens se trouvaient dans la rue, on les suivaient, ils nous amenaient dans une boutique ouverte pour l’occasion, une maison, une fenêtre… ce que l’artiste avaient ajouté c’était des comédiens, fondus dans les rues qui vous sifflaient pour vous proposer un peu de drogue… et puis un homme saoul qui vous disaient de venir acheter des bières dans cette supérette que c’était pas cher et frais ! Alors tu rentres dans la supérette à 10 ou 15 personnes, avant de te rendre compte que c’était juste un homme saoul et pas un comédien… alors tu bois une bière fraîche pas cher et tu rejoins le reste du groupe qui part déjà à la prochaine fenêtre ou ruelle…

    l’audience : voir la partie ci dessus sur le lieux… l’audience était étroitement mêlé avec le lieu, les acteurs, les habitants et l’habitat … c’est pour ca que je mélange tout dans ce récit, et c’est aussi pour ça qu’aujourd’hui je me rappelle de cette expérience des plus réussi pour moi… Le jeu des acteurs n’était pas grandiose, mais généreux et tout le monde était touché, ne sachant pas et ne cherchant pas à savoir si c’était un habitant complice ou un ami comédien de l’apprenti de la FAI-ar.

    • #9229


      I saw this work in Castleton Peak district in UK- a rural setting in an open valley in a very remote setting in the AND festival- Abandon normal devices. The audience had to park some distance away then walk up a steep incline to the location -it heightened the senses in the desolate landscape with high valley sides and people silently assembling to see the work. The work filled the space with digital light, lazers and a soundscape and smoke machines created beautiful patterns and colours in the piece- it was mesmerising in the outdoor space and beautiful to watch outdoors- it was so cold you could see your breath which added to the piece.

  • #8153


    Waterlicht by Studio Roosegaarde

    Waterlicht is a light-based installation piece, As the studio describes it, “WATERLICHT is the dream landscape about the power and poetry of water. As a virtual flood WATERLICHT shows how high the water could reach and raises awareness about rising water levels. WATERLICHT creates a collective experience to share the importance of water innovation.”

    I saw the Toronto installation, which was at the Bentway, a recently opened public park built underneath a highway overpass. The piece is adaptable to different locations, but seemed particularly well suited to this long, narrow space under a bridge. It was very popular and attracted hundreds of people each night it was there; there was a festival-like atmosphere as people wandered around gazing at the lights and talking to each other. It also helped to start conversations around flood protection, a major infrastructure issue in Toronto, and climate change.

    • #9232


      Acrijou Wheelhouse is a highly successful piece of outdoor arts created in the UK. The audiences love to watch the show which is very structured. The quality of the wheel itself as a setting creates a focus as it is wheeled into a space and audiences follow the actors till it settles and find a compulsion to watch the piece. Their movement in the wheel is skilled and the circus acrobatic elements are very skilled but subtle as the audience find it easy to follow the narrative of the story without spoken word. The piece has toured many countries and locations from urban to rural its a fabulous piece.

  • #8074

    Sally Mann

    This is a double cyr wheel created as a ship wreck and operated by two performers that navigate its way through urban space after which the public follow and speaks of post-apocalyptic love story’, The Wheel House is an acrobatic promenade show, which unfolds inside and around a circular set as it rolls with the audience walking alongside.

    An enchanting story set in a dystopian future, at a time where survival relies on sharp eyes, quick hands, and above all, friendship. Join these traveller- gatherers on the road to nowhere: treading lightly, enduring quietly, and always, always moving onwards.

    The discipline is acrobatic circus and theatricalise duo, it is an epic story, post-apocalyptic. A love story that intertwines a universal story of love and negotiation of the relationship with each other and space.

    The location is along public highways, public spaces and urban locations. It is not about location it is about human relations in a dystopian world.

    It is a promenade performance in which the audience follows the emergent narrative of the relationship. The audience does not interact with the performance, it is a self contained world.

    The audience observes this world as if from a distance observing the relationship unfolding, it seems like a durational performance but isn’t, The audience enjoys the exquisite details of the work and its absurdity and ingenuity.

  • #7799

    – The discipline: what artistic disciplines are featured: broadly speaking the work was initially referred to as Community arts practice/disciplines in the 1970-80’s before the term “outdoor arts” developed in its own right in the UK in the 1990’s- millenium
    – The theme: are you able to guess what the project is about based on the document? the themes varied as this wasn’t a specific piece but generally the themes where local and geographically political or sensitive relevent to local audiences/participants.
    – The location: how would you describe the location of the performance? Does there seem to be a link between the location and what the artistic project is about? Were elements added by the artist? The locations where often urban,city or town centric public/civic spaces often related to anniversaries or celebrations or creating new myths or legends- appropriate to communities who didn’t have a voice or where unrecognised in this way by society or civic institutes. There where also many projects in landscapes and large spaces that created an intervention and response or reaction to the area/field or location to amaze and transform the way audience/participants saw the space- often a pre-curser to re-imaging a space as a result of industrial or economic decline or following a growth in Culture as a tool for regeneration from 1990 through to millennium as city of culture movements emerged.
    – The audience: how is the audience arranged? Does it seem to have a role in the performance? What kinds of relationships can be observed between the artistic work and the audience? WSI audiences where voyeurs of often intimate or large scale spectacles, this may also be interspersed with roles in performance- joining in singing or mass movement etc. Participants where often audience also particularly within parade and lantern work when people created their own costumes, lamterns props etc. and participated within a carnival or parade and also appreciated and where audiences to others work- interchanging relationships and often immersive participation where families and participants become lost in the moment.

  • #7760

    The link above is to the work of Welfare State International (WSI), based in the North of England, UK. it was founded in 1968 by John Fox and Sue Gill, Roger Coleman etc., as a loose association of freelance artists bought together by shared values and philosophy- their work was often political and often worked in collaboration with host communities/sites.
    WSI became well known for large-scale outdoor spectacular events in the UK during the 1970-1980’s. when they began, taking art out of theatres and galleries into the street and public spaces it was considered revolutionary at the time and was also parallel and complimenting a community arts movement across the UK. The company’s name originally ‘The Welfare State’ alludes to a philosophy of ” art for all” on the same basis as education and health services- which are government funded as founded by the UK as a Welfare state after the second world war.

    Under the Welfare State umbrella talented artists, engineers, musicians, sculptors, performers, poets and pyrotechnicians invented and developed site-specific theatre in landscape, lantern processions, spectacular fire shows, community carnivals and participatory festivals all over the UK and in later years also internationally. Many of the original artists went on to establish their own companies who are now the backbone of UK outdoor arts: Walk the Plank, Emergency Exit Arts, Wildwork’s etc. Communities where often intrinsic in collaborating with the creatives and often the lines became blurred and many participants became artists as a result of taking part or observing the work of WSI. Indeed as a young girl I experienced WSI work and was greatly moved by the piece its response to locality and emersion- the opportunity to see ordinary people perform also with artists and say something about their lives, animate their spaces- As a student I followed their work and their book_ “Engineers of the Imagination” was a bible for any community artist or artist wishing to work in outdoor arts at that time- 1980’s. Indeed their work was the reason I was inspired into working in the sector and after I attended one of their summer school in 1988 I did go on to start a freelance career in the sector- it was the only relevant training or opportunity to learn and co-create outdoors at that time and preceded any degree courses specialising in that at the time.

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