Sculpturing sound in space
Trude Schjelderup Iversen · 2020
Not only have the recurring debates about publicly engaged art proven the term ‘public art’ insufficient to describe the multitudes of contemporary art practices but the term ‘public’ appears to change meaning the minute we try to narrow down and describe how artists work with and/or in the public sphere, public space, and even the public sector. This chapter, focused on American social practice artist Suzanne Lacy’s 2016 performance The Circle and The Square in Brierfield, England, is the starting point an investigation into Lacy’s artistic methodology. Reflecting around three key concepts – place, space, and (emphatical) experience – it is found that Lacy’s work is often interpreted as early examples of community-based activist and participatory art practice, and that less explored and written about is Lacy’s deep conceptual and space-influenced approach. From the purview of an embodied experience of the artwork and a conversation with the artist, the author posits that one must create one’s own experience and this creation is related to an aesthetical pursuit in Lacy’s work and is fundamental in how Lacy approaches, and prioritises within, community-driven collaborations.