Gilbert Grace m | 0434 910 422 e | email@example.com
UNDERSTANDING ART OUTSIDE OF THE GALLERY
"Art practices that exist outside of the confines of the gallery have a long history that include genres such as land art, eco-art, public art, and social practice art. This short listing, though far from complete is meant to provide a platform for understanding the scope of creativity outside the boundaries of white walls..."
WHAT IS ENVIRONMENTL ART?
"Environmental art is a global movement that involves artists, community groups, scientists, arts professionals, students and educators, park and resource managers, government organizations, philanthropists and concerned citizens and countless other groups and individuals.
We're doing what we can to interconnect people, information and ideas to help inspire the creation of more art that heals our communities and ecosystems. For the idea of sustainablility to work, it needs to engage our culture effectively.
Through collaborations with artists of all types, we can make existing remediation projects and environmental education more fun, beautiful, culturally and historically resonant and better integrated into our cities, parks and communities.
It's an old idea, really, whose time is long overdue. Please join us and help the Earth create a future we'd all like to live in."
THE DERIVE (DRIFT)
“The dérive (with its flow of acts, its gestures, its strolls, its encounters) was to the totality exactly what psychoanalysis (in the best sense) is to language. Let yourself go with the flow of words, says the psychoanalyst. He listens, until the moment when he rejects or modifies (one could say detourns) a word, an expression or a definition. The dérive is certainly a technique, almost a therapeutic one. But just as analysis unaccompanied with anything else is almost always contraindicated, so continual dériving is dangerous to the extent that the individual, having gone too far (not without bases, but...) without defenses, is threatened with explosion, dissolution, dissociation, disintegration. And thence the relapse into what is termed ‘ordinary life,’ that is to say, in reality, into ‘petrified life.’ In this regard I now repudiate my Formulary’s propaganda for a continuous dérive. It could be continuous like the poker game in Las Vegas, but only for a certain period, limited to a weekend for some people, to a week as a good average; a month is really pushing it. In 1953-1954 we dérived for three or four months straight. That’s the extreme limit. It’s a miracle it didn’t kill us” (Ivan Chtcheglov, excerpt from a 1963 letter to Michèle Bernstein and Guy Debord, reprinted in Internationale Situationniste #9, p. 38).
A full explanation of the derive, 'the drift' here.
| Guy Ben-Ner, Still from I'd give it to you if I could but I borrowed it, |
2007, Single channel video DVD, Courtesy Postmasters Gallery
Bicycle Acid KISS