Euphoria of Public Art

Yuko Nakama

《The Journal of Asian Arts & Aesthetics》 3期 (2009/12) Pp. 29-35

https://doi.org/10.6280/JAAA.2009.03.04

並列摘要

Art in public seems to have lost its role of ”story-teller” as cities changed drastically in the age of global media environment. Not only did the autonomy of art become the absolute discipline in modern era, public's indifference to modern art accelerated the crisis of art disappearing from cities.
An internationally renowned public art exhibition ”Sculpture Project” in Münster in northwest Germany, however, succeeded in regaining attention to art in urbanity. Public art now has become more theoretically complicated from the time of ”site specificity.” What we need in public art today is not consensus but communication, and under this point of view, the case of Münster has been a model, where the city moved to embrace public art only under a condition of citizens' participation and collaboration.
A remarkable example of public art in Japan might be the case of Naoshima; the small island in the Seto Inland is now changing its face. ”Art House Projects,” in the collaboration of arts and architecture, are purposed to tell a specific story of the space and history.
Public art is now encompassing such aspects as ”city furnishing, marketing, tourism and image enhancement” giving not only artistic but economical, social and political effects. What we need in public art today is mobility free from specific spaces, as it may have risks to thrust oneself into ”euphoria.”

並列關鍵字

Public Art ； Euphoria ； Situation Specificity ； Sculpture Project Münster ； Art House Project Naoshima