| Field |
Value |
Language |
|
dc.contributor.author |
Drake, C
https://orcid.org/0000-0003-4447-8404
|
en_US |
|
dc.contributor.editor |
Breen Lovett,, S |
en_US |
|
dc.contributor.editor |
Couper, R |
en_US |
|
dc.contributor.editor |
Kuzmanovska, I |
en_US |
|
dc.date |
2018-09-27 |
en_US |
|
dc.date.issued |
2018-10-01 |
en_US |
|
dc.identifier.citation |
Australian Design Research Conference (ADR18), 2018 |
en_US |
|
dc.identifier.isbn |
978-0-646-99249-5 |
en_US |
|
dc.identifier.uri |
http://hdl.handle.net/10453/129719
|
|
|
dc.description.abstract |
Consisting of four videos, this exhibition proposal is the outcome of a series of iterative performances that explore the interactions between spatial conditions, cultural practices, communities and their environments. Highlighting the cultural, ethical, and political resonances produced by staged performances within contested landscapes, the video works include The Accumulation of Cyclical Operations (2017) situated in D-Division of Melbourne’s Pentridge Prison, Spatial Tuning (2015) at Hobart's municipal rubbish dump and Instrumental (2015) and Cultural Burn (2016) on a property acquired by the Indigenous Land Corporation as part of a land bank established for Aboriginal people. |
en_US |
|
dc.format |
Video |
en_US |
|
dc.publisher |
University of Sydney |
en_US |
|
dc.relation.ispartof |
Australian Design Research Conference (ADR18) |
en_US |
|
dc.title |
Performance and Discipline in Architecture: The Accumulation of Cyclical Operations in Critical Spatial Practice |
en_US |
|
dc.type |
Exhibition |
|
|
utslib.location |
Tin Sheds Gallery |
en_US |
|
pubs.embargo.period |
Not known |
en_US |
|
pubs.organisational-group |
/University of Technology Sydney |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building |
|
|
pubs.organisational-group |
/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Architecture |
|
|
utslib.copyright.status |
closed_access |
|
|
pubs.consider-herdc |
true |
en_US |
|
pubs.finish-date |
2018-09-28 |
en_US |
|
pubs.place-of-publication |
Tin Sheds Gallery |
en_US |
|
pubs.start-date |
2018-09-27 |
en_US |
|
pubs.rights-statement |
Situated within the field of critical spatial practice, this body of creative practice research examines how site-specific performance can activate engagement in the spatial politics of contested urban and rural landscapes in Australia. Intersecting performance and architectural processes, this project interrogates the disciplinary boundaries of architecture and performance through the performative reappropriation of a series of landmark buildings and contested landscapes. Consisting of four videos, this exhibition proposal is the outcome of a series of iterative performances that explore the interactions between spatial conditions, cultural practices, communities and their environments. Highlighting the cultural, ethical, and political resonances produced by staged performances within contested landscapes, the video works include The Accumulation of Cyclical Operations (2017) situated in D-Division of Melbourne’s Pentridge Prison, Spatial Tuning (2015) at Hobart's municipal rubbish dump and Instrumental (2015) and Cultural Burn (2016) on a property acquired by the Indigenous Land Corporation as part of a land bank established for Aboriginal people. In proposing to exhibit the performance documentation alongside a paper for plenary session, the research explores the motivations and critical operations behind mediatizing or documenting site-specific performance for the purposes of archiving, exhibition and dissemination. Drawing on the writings of Philip Auslander1 and Peggy Phelan1, I propose an expanded field of discursive potential in which the work can actively engage in spatial politics through multiple modes of dissemination and varied forms of audience engagement. Resonating with Miwon Kwon’s writings about site specific practice and locational identity1, I build upon the expansive notion of fragmented, multiple sites by repositioning it and adapting it to the field of site specific performance. Foregrounding the multiple platforms in which performance documentation can be broadcast, featured and published, I propose that site iteration and fragmentation is tied to efficacy and impact mobilized through the convergence of sites of research production and sites of research dissemination that together form a cumulative field of discursive potential |
en_US |
