Navigating Community

Making Space for the one and the many

(with belated kudos to Grant Kester)
How have artists sought to engage
public/s with the work they do, and
through what sorts of channels
and modes of engagement have
these encounters taken place?
An enabling subjectivity makes
room for a sense of the collective
An enabling subjectivity makes
room for a sense of the collective
An enabling subjectivity makes
room for a sense of the collective
An enabling subjectivity makes
room for a sense of the collective
Locating the Social
(A Triad of Markers, A Positing of a Continuum)
Medalla
Chabet
Albano
Conflation of the Individual and
Vernacular
Conflation of the Individual and
Vernacular
Medalla: one should use what is given in
ones culture The important thing is the
'inner experience'; one must go deep
down inside one's selfnot one's ego
but rather to discover that real vibration of
positive-negative forces in opposition.
Only then will the form assume a definite
historical antecedent.
Art Community as Buffer/Safe Zone
Narrowed circles/affinities
Narrowed circles/affinities
Recuperation of subjectivity
Recuperation of subjectivity
Recuperation of subjectivity
Recuperation of subjectivity
Reinvigorating the vernacular

Reinvigorating the vernacular
Reinvigorating the vernacular
Reinvigorating the vernacular
Conflation of the
Individual and
Vernacular
Recuperation of subjectivity
Conflation of Collaboration and a
Contested Vernacular
Conflation of Collaboration and a Contested
Vernacular
Conflation of Collaboration and a Contested
Vernacular
Transregional Lineage
Conflation of Collaboration and a Contested
Vernacular
Conflation of a Sense of Community, and a
Contested Vernacular
Conflation of Collaboration
and a Contested Vernacular
Conflation of Collaboration
and a Contested Vernacular
Conclusion
Rather than belabouring the purity of Southeast
Asian conceptualism, we might instead consider
how collective interest couched in vernacular
terms might dynamically become formed from
within and without in the art being done through
an organic and continuous realigning even of
oppositional energies. Just then it might be
possible to envisage social space as site to
which artists gravitate toward or activate their
work via encounters that might prosper out of
sheer tenacity if not tenuous affinities.