Coinciding
with the annual meeting of the College Art Association in Los Angeles,
The Arts Research Center at UC Berkeley is hosting the offsite working
session "Making Time at Human Resources" on February 22, 2012. Participants have
been invited to post some brief thoughts on the topic in advance of the
event. This guest posting is by Aandrea Stang, Senior Education Program Manager at MOCA.
Since 2008 I have been working with a team of colleagues
at The Museum of Contemporary Art, Los Angeles (MOCA) to design and organize
the museum’s performative/social practice program, Engagement Party. Engagement Party’s statement is below:
Engagement Party offers Southern California–based artist
collectives and collaborators an opportunity to make new artworks, interacting
with and exploring MOCA and its resources in unexpected ways. Invited to work
on site for three months, the artists may employ any medium, discipline, or
strategy to create performances, workshops, screenings, lectures, or any other
activity emerging from the group’s particular focus. Through Engagement Party,
MOCA challenges the conventions of the museum as a collecting institution by
providing a platform for artist collectives who create socially based works.
Consistent with MOCA’s mission statement, Engagement Party aims to identify and
support the most significant and challenging art of its time.
Over the program’s three and a half year life we have
worked with twelve amazing mostly artists collectives from (again) mostly
Southern California. During the three months they work on site, they are asked
to create three discrete event-based art works. As the museum’s oversight
committee begins to think about Engagement Party’s next phase and contemplate what
the program could ideally be, we have been asking a lot of questions about
social practice at MOCA and at large. Many of the questions have been specific
to the museum but we have also tried to think on a broader scale.
Some of the questions in no particular order:
·
How do institutions provide artists with
adequate support while balancing their other programmatic offerings? How to
best realize these projects when the museum does not have systems for the
messiness of work that includes both artists and audience?
·
Do the artists working with the institution feel
well supported and how can we best work with them to their best advantage?
·
Have the artists working within the museum made
the work they wanted to make? Is a museum the right space for social practice?
·
How has MOCA refined its notion of social
practice to move beyond the larger event-based works to consider artists
working in other aspects of the genre?
·
How does a museum-based social practice program
remain relevant?
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