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2013 | OriginalPaper | Buchkapitel

Encountering Screen Art on the London Underground

verfasst von: Janet Harbord, Tamsin Dillon

Erschienen in: Public Space, Media Space

Verlag: Palgrave Macmillan UK

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For the past 40 years, the material form of public art works has included media of various kinds. The use of film and video in public art practice breaks with a tradition of fixed, monumental public art, the memorial culture that writer W. G. Sebald describes as the official sanctioning of forgetting (Sebald, 2005). In a culture of moving image public installations, by contrast, the architectural fabric of the city becomes dynamic, uncertain and a fluid surface suggestive of the contingency of urban life. Each time we encounter a video screen the images may vary, depending, for example, on the particular intersection of a looped program and a finely timed daily commute. As time-based media, the presence of moving image screens in the city mixes with the various temporal flows of urban space. Each artwork is, of course, functioning in relation to a given environment, drawing on a tradition of site-specific art practice that became prominent in the 1970s (Kwon, 2003). The majority of what might be called intermedial public artworks has been commissioned for a particular location, negotiating with factors of history and neighborhood, material properties and environmental atmosphere, and the habitual and exceptional uses of a space by various communities, commuters, tourists and individuals. Site-specific art as it was conceived over 40 years ago challenges a heritage of timeless and universal public art, inserting into urban contexts artworks that surprise and engage; perhaps most significantly, many of these artworks can only be understood within the dynamic situation of their context (Finkelman, 2000).

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Metadaten
Titel
Encountering Screen Art on the London Underground
verfasst von
Janet Harbord
Tamsin Dillon
Copyright-Jahr
2013
Verlag
Palgrave Macmillan UK
DOI
https://doi.org/10.1057/9781137027764_9