Dialoginė estetika kaip bendruomeninio meno metodas

Abstract

This article aims to examine the changes in concept, development and practices of community art in the Western culture from the end of 20th century to the beginning of 21st century, and based on theory of dialogical aesthetics by Grant H. Kester as well as using methodical examples of practicing artists, such as Jeanne van Heeswijk and the cultural association “Artway of Thinking“ (Stefania Mantovani and Federica Thiene), evaluate cases of community art projects taking place in Lithuania, especially focusing on the initiatives of the creative project “Friendly Zone“. The notion of Grant H. Kester“™s dialogical aesthetics as a dialogue-based socially-engaged creative practice helps to reveal forms and directions of socially-engaged art practices which are relevant today. Examining the project “Friendly Zone“, which takes part in S anciai (district of Kaunas, Lithuania), we can see a clear example of creative practice based on dialogical aesthetics with an ethical access to local inhabitants and their concerns. By working together with well-known community and socially-engaged art experts, Vita Gelūnienė and Edmund Carroll aim to apply methods of dialogical creativity: co-creative diagram of ““Artway of Thinking“ displays four stages of activities. It starts with self-recognition and placement of each member of the team as well as naming their functions in collective practice. Later, the context (place) is explored and monitored. Then, ideas are generated and implemented, the results of which are integrated. The artists also use the principle of a “headquarter“ from Jeanne van Heeswijk“™s practice, creating a certain meeting and dialogue-based point (house or inflatable tent) in public art projects. The text points out these advantages of the project: long-term effects and artists“™ residency in the area. The long-term project “Friendly Zone“, taking place in a single district, allows to test different creative methods involving public art, creates an environment of trust between local inhabitants and art initiatives taking place in the area. The process of examining and observing becomes a permanent task and, even, a way of life for the people involved. Nonetheless, difficulties and challenges also exist: the passivity of the members of local community towards certain activities as well as communication with both the outside (the press) and the local community. In both cases, this model of activity is not seen as the end in itself. Thus, it is necessary to strengthen the role of mediators by including people with skills of public relations into the team.