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

2012年，Tate推出了坦克。泰特现代美术馆的坦克从它们以前的巨大油罐功能转换而来，是世界上唯一指定的“现场”艺术（装置，表演，新媒体和电影）博物馆空间。坦克为画廊提供了一个独特的挑战和机会，让他们了解现场艺术的体验，尤其是开幕15周的艺术在行动计划吸引了565，000名游客。艺术在行动的一个关键因素是暗流，一个多学科的11天的节日，由年轻人和为年轻人编程。吸引了来自英国各地的年轻游客，暗流计划积极质疑年轻人如何参与和发展主流和另类文化形式，并与许多现场艺术，困扰艺术家和观众之间的障碍，并涉及多层次的参与。这项研究借鉴了泰特作为文化创造和年轻人参与的网站所提供的独特潜力。该项目借鉴了博物馆现有的良好做法，让年轻人与艺术家合作制作和观看现场和参与性艺术，并通过解决方法上的挑战来扩展这项工作，即对参与文化生产过程的参与者的价值进行核算。本研究是一项深入的个案研究，探讨了参与者主导的创造性评估方法的潜力，以证明在艺术博物馆制作和观看现场表演的文化价值。根据它所涉及的实践，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。该研究既是形成性评价，也是总结性评价。它对过程的关注依赖于对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一种手段。它的主要贡献之一将是评估电影和社交媒体提供的可能性，作为一种手段，使更广泛的文化价值和持续的关键意义的同行评估。电影还提供了一种媒介，用于向同行和更广泛的观众展示和交流参与者的经历。 案例研究的重点是15名从事表演和研究工作的年轻人。他们将与一名舞蹈演员一起参加两个小时的工作坊。他们将在五天的时间里每天早上工作，创作一件现场艺术品，并在第五天在泰特美术馆举行的公开表演中达到高潮。工作坊将由电影制作人拍摄，每天下午，年轻的参与者将分成小组，与舞蹈演员一起，与电影制作人一起制作当天活动的粗略编辑。在这个编辑过程中，将嵌入评估判断，因为参与者将被要求根据以下问题塑造他们的电影：你认为你参与的创作过程的哪一部分最有价值，它看起来像什么？每天结束时，粗略的编辑将发布在vimeo网站上。参与者将被邀请对彼此的电影发表评论，同时泰特将在项目开始前招募更多的年轻人作为同行评审员。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其他人的电影。年轻的参与者和舞蹈家将于2014年3月在泰特美术馆重新聚集，参加由电影制片人领导的为期两天的研讨会。在这些会议期间，该小组将合作制作一部电影，考虑到他们在舞蹈工作室和表演中的不同表现。这将向他们阐明参与这一进程的文化价值。为了进一步收集年轻参与者的文化经历的证据，并评估评估过程的完整性，两名参与研究人员还将观察，拍摄和采访参与者。

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.