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The experience and value of live art: what can making and editing film tell us?

现场艺术的体验和价值：电影的制作和剪辑能告诉我们什么？

基本信息

批准号：
AH/L005352/1
负责人：
Patricia Thomson
金额：
$ 3.94万
依托单位：
University of Nottingham
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2013
资助国家：
英国
起止时间：
2013 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FL005352%2F1
关键词：
experience value live art what

项目摘要

In 2012 Tate launched the Tanks. Converted from their former function as huge oil containers the Tanks at Tate Modern are the only designated museum space for 'live' art (installation, performance, new media and film) in the world. The Tanks present a unique challenge and opportunity for the gallery to understand the experience of live art, not least as the opening 15 week Art in Action programme attracted 565,000 visitors. A key element of Art in Action was Undercurrent, a multi-disciplinary 11 day festival programmed by and for young people. Attracting young visitors from across the UK, the Undercurrent programme actively questioned how young people engage with and develop mainstream and alternative cultural forms and, as with much live art, troubled the barriers between artists and audience and involved multiple layers of involvement.This study draws on the unique potential offered by Tate as a site of cultural creation and engagement for young people. The project builds on on the museum's existing good practice in involving young people working collaboratively with artists in the making and viewing of live and participatory art. It extends this work by addressing the methodological challenge of accounting for the value to participants of engaging in processes of cultural production. The research is an in-depth case study which explores the potential of a participant-led, creative evaluative methodology to evidence the cultural value of making and viewing live performance in the art museum. In tune with the practice it addresses, this study is cross-disciplinary. It draws on methodological approaches from art practice, ethnography and participant evaluation. The study is both a formative and summative evaluation. Its focus on process relies on an innovative use of the practices of individual and group film editing as a means of stimulating critical reflection. One of its prime contributions will be an assessment of the possibilities offered by film and social media as a means of enabling wider peer assessments of cultural value and ongoing critical meaning making. Film also offers a medium for the representation and communication of the participant's experiences to peers and to wider audiences. The case study focuses on 15 young people working as performers and researchers. They will take part in two hour workshops with a dancer. They will work each morning for five days to develop a piece of live art, culminating in a public performance on the fifth day in the Galleries at Tate. The workshops will be filmed by a film-maker and each afternoon the young participants will split into groups and, alongside the dancer, work with the film maker to produce rough edits of the day's activity. Embedded within this editing process will be evaluative judgements, as participants will be asked to shape their films according to the following question: What part of the creative process that you have been a part of do you consider the most valuable, and what does it look like? At the end of each day the rough edits will be posted on a vimeo site. Participants will be invited to comment on each other's films alongside a wider cohort of young people who Tate will recruit as peer reviewers prior to the project. Over the following four month period participants and peer reviewers will continue to edit their own and other's films. The young participants and dancer will reconvene at Tate in March 2014 for a two-day workshop led by the film makers. During these sessions, the group will collaborate to produce one film that takes account of the varied representations of their experience of the dance workshops and performance. This will articulate the cultural value to them of engaging in the process. To gather further evidence of the cultural experiences of young participants and to assess the integrity of the evaluative process, two participant researchers will also observe, film and interview participants.

2012年，泰特推出了坦克系列。泰特现代美术馆的“油罐”由原来的巨型油罐改造而成，是世界上唯一一个为“现场”艺术（装置、表演、新媒体和电影）指定的博物馆空间。“坦克”为画廊提供了一个独特的挑战和机会，以了解现场艺术的体验，尤其是开幕的15周“艺术在行动”计划吸引了565,000名参观者。“行动中的艺术”的一个关键元素是“暗流”，这是一个由年轻人策划并面向年轻人的为期11天的多学科节日。“暗流”项目吸引了来自英国各地的年轻游客，它积极地质疑年轻人如何参与和发展主流和另类的文化形式，就像许多现场艺术一样，打破了艺术家和观众之间的障碍，并涉及多层次的参与。这项研究利用了泰特美术馆作为年轻人文化创作和参与场所的独特潜力。该项目建立在博物馆现有的良好实践的基础上，即让年轻人与艺术家合作，共同创作和观看现场和参与式艺术。它通过解决对参与文化生产过程的参与者进行价值核算的方法挑战来扩展这项工作。该研究是一个深入的案例研究，探讨了参与者主导的、创造性的评估方法的潜力，以证明在艺术博物馆制作和观看现场表演的文化价值。与它所涉及的实践相一致，这项研究是跨学科的。它借鉴了艺术实践、民族志和参与者评估的方法论方法。本研究既是形成性评价，又是总结性评价。它对过程的关注依赖于个人和团体电影编辑实践的创新使用，作为刺激批判性反思的手段。它的主要贡献之一将是评估电影和社交媒体作为一种手段提供的可能性，使更广泛的同行评估文化价值和持续的批判性意义创造成为可能。电影也为参与者的经历提供了一种向同行和更广泛的观众展示和交流的媒介。该案例研究的重点是15名作为表演者和研究人员的年轻人。他们将与一名舞者一起参加两个小时的讲习班。他们将在五天的时间里每天早上工作，制作一件现场艺术作品，最后在第五天在泰特美术馆举行公开表演。工作坊将由一位电影制片人拍摄，每天下午，年轻的参与者将分成小组，与舞蹈演员一起与电影制片人一起制作当天活动的粗略剪辑。在这个剪辑过程中，将会有评估性的判断，因为参与者将被要求根据以下问题来塑造他们的电影：在你参与的创作过程中，你认为哪一部分最有价值？它是什么样子的？在每天结束时，粗略的编辑将发布在视频网站上。参与者将被邀请对彼此的电影发表评论，泰特美术馆将在项目开始前招募更多的年轻人作为同行评议人。在接下来的四个月里，参与者和同行评审员将继续编辑他们自己和他人的电影。年轻的参与者和舞者将于2014年3月在泰特美术馆再次聚集，参加由电影制作人主持的为期两天的研讨会。在这些课程中，他们将合作制作一部电影，该片将考虑到他们在舞蹈工作坊和表演中的不同经历。这将向他们阐明参与这个过程的文化价值。为了进一步收集年轻参与者文化体验的证据，并评估评估过程的完整性，两名参与者研究人员还将观察、拍摄和采访参与者。