By J. Harvie
Fair Play: artwork, functionality and Neoliberalism explores those questions during the paintings of vital modern artists and enterprises together with Marcus Coates, Phil Collins, Jeremy Deller, Michael Landy, Grayson Perry, Rachel Whiteread, Lone dual, Punchdrunk, Tate smooth and the nationwide Theatre.
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Additional resources for Fair Play: Art, Performance and Neoliberalism
Sample text
Immersive theatre and art Immersive theatre characteristically creates a through-designed environment which surrounds audience members and in which they are generally invited to move about. Theatre scholar Adam Alston (2012, p. 194) describes it succinctly as ‘a promenade theatre form which allows audiences the benefit of free-roaming within hands-on and multi-sensory performance environments’. Realist theatre’s usual fourth wall is not so much removed (as on a proscenium arch stage) as moved, such that it and the other ‘three’ walls of the theatrical fictional space encompass the audience along with the theatre performers.
For Test Site in London’s Tate Modern Turbine Hall, for example, Carsten Höller installed five aluminium and Perspex spiralling slides ranging in height from four storeys to one. Turbine Hall visitors were invited to slide down the slides or simply to watch while others did so. Höller transformed the Turbine Hall at least partly into a playground (Höller, 2006). For his Turbine Hall commission, The weather project, Olafur Eliasson installed a mirrored ceiling, apparatuses that emitted mist and, high on the Hall’s eastern wall, a large half-circle screen backed by monofrequency lights.
To generalize somewhat crudely for the sake of brevity, the primary aim of applied projects is to collaborate artistically and socially with a particular (often socially marginalized) group of people. Applied projects tend to emphasize socially meaningful (and usually ‘positive’) processes, sometimes more than artistic outcomes. By contrast, the work I focus on commonly emphasizes artistic output, and its social ‘agenda’ is often ambiguous or at least more open than applied agendas tend to be. I also do not focus on artistically informed activism or protest, though these too could be seen to fall within the remit of socially engaged contemporary art and performance.