Participatory public art projects in run down residential areas - a discussion on how to run the process
Participation, public art and participatory public
art as phenomenons and subjects have been
studied and discussed. With interviews and observations
as a base, we have studied projects
and discussed participation, effect and quality
in relation to these.
Furthermore we have looked at how the participatory
art processes work in Sweden and
England. This essay seeks to discuss the process
of participatory public art and to emphasize
the elements contributing to the quality of this
process.
It is up to us as planners to recognize the possibilities
for a qualitative place. To mediate between
different interests, for example between
politicians and stakeholders, between economics
and quality, between the place and its users,
between individuals and the community, and in
our case between artists, users and the municipality.
Public art has gone from being about the product,
an art piece, to becoming more of a process,
from non interactive to interactive. Participation
ranges from receiving information to play
an active part in the process.
Four cases have been studied, taken both from
Sweden and England, showing the diversity of
processes connected to Participatory Public Art.
From interviews conducted in Sweden and
England information and thoughts have been
received and they show a higher degree of use
of participatory public art in England, and also a
higher consciousness. In England participation
in public art is a common working method and
the artists see themselves acting different roles.
In Sweden this method is used less frequently
and mostly to gain information to help the
process. In general the method focuses on the
artist and the art as object or product in Sweden
while the process itself is the more important in
England.
The most evident part missing in all participatory
art projects seems to be the lack of evaluations.
A good project should be well planned
throughout all the phases; before-, during-,
and after. A project manager should be present
to overview and reintroduce energy into the
project. Last but not least, the outcome and the
process of developing the project need to be
evaluated.
In the creation of meaningful places, participatory
public art contributes from two directions.
Firstly, when you engage in your surroundings a
bond is created, a common history between you
and that place. Secondly the art can differentiate
places from each other and give them an identity.
Swedish artists need to let go of some of their
professional role, without sacrificing pride and
quality. This would make it easier to collaborate
across borders.
Sweden can learn from England and use the
participatory public art in a way that is adaptable
for Swedish conditions, for example helping
new housing developments to get the identity
that they lack.