Exploring Site-specific Art: Issues of Space and Internationalism (Paperback) - Common
Over the years, a greater diversity of spaces has opened up worldwide for the making and display of art beyond the gallery. This book considers various site-specific artworks internationally located in countries ranging from China to France, to explore the relationships between site-specific art and space set within its globalising contexts.
secret, private space where anything could happen’.47 As has been shown, in the horror film the cellar can be perceived as a cultural sign where its ‘earthy dampness’ has been used as a metaphor for the ‘monstrous womb’ associated with the degenerate female and witch.48 Cave-like and dark, the cellar can be perceived as being bodily associated with the primal elements of the maternal,49 which, as Kristeva has argued, has a special relationship to the abject and is culturally related to
2004). From the 1830s accounts of daily life from traders and Protestant ministers settled in Canton were published in periodicals. The chief superintendent of British trade, John Francis Davis, wrote The Chinese: A General Description of China and its Inhabitants (London: Charles Knights, 1836) and British soldiers, consular officials, ministers of religion and doctors also wrote personal accounts that were published in the West. See Garrett, Heaven is High. Garrett, Heaven is High. Edward Said,
2003). Paul Kubicek, (ed.) The European Union and Democratization: Reluctant States (London: Routledge, 2003). The aristocracy in nineteenth-century Belgium was predominantly French speaking and it created a state in 1930 in which French was the official language. Francophile domination influenced the way the economy developed. There are French-speaking villages and towns in Flemish areas and vice versa and schools, political parties and culture are segregated along linguistic lines. Suzy Sumner
produced by Artangel. Chapter 4: The Garden 14. 15. 16. 17. 18. 19. 20. 21. 22. Steven Siegel, Bale, University of Virginia, USA (2002). Marjetica Potrč, Urban Agriculture, Siena, Italy (2003). Arte all’Arte, 8 project. Courtesy the artist and Associazone Arte Contina, San Gimignano, Italy. Photograph: Ela Bialkowska. Choi Jeong Hwa, White Lotus, Venice (2005). Kathryn Miller, The Grasslands Project, Melbourne (1995–97). Kathryn Miller, The Grasslands Project, Melbourne (1995–97). Kathryn
conceptualizations of the border. Fernandez’s installation in the bus station gave voice to the border as a site where narratives of loss, opportunity, desire and pragmatic economic imperative are played out within the constant flows and counter-flows of movement and exchange. Here, the border is a fugitive space that expands beyond the linear concept of a dividing territory, into extended spatial and somatic arenas where everyday necessity is enacted through a movement between thresholds of