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How to Communicate in Art

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Kommunikation muligheder og begrænsninger
Kunst som kommunikation m. udgangspunkt i Marco Evaristti

Maia Meier Duus, 3.n, Odder Gymnasium

Indledning

I dette AT projekt har jeg valgt at arbejde med kunst som kommunikationsmiddel. Forholdet mellem kunst og samfund er blevet diskuteret meget i løbet af det 20. Århundred og spørgsmålet ”hvad kan defineres som kunst” er blevet stillet mange gange og svaret har også ændret sig i løbet af årene i takt med at vi som individ i et samfund er blevet bedre til at stille spørgsmålstegn ift. til den tid vi lever i. Kunst som kommunikation inden for samfundsdebatten handler om at finde nye udtryksformer, der kan formidle en kritik af kulturelle og samfundsmæssige forhold. Kunstneren Marco Evaristti har siden 80’erne skabt værker der stiller spørgsmål til det samfund vi lever i. Han afsløre og visualisere tabuer som vi ellers vender ryggen til. På denne måde opstår der kommunikation mellem ham som kunstner og os som publikum. Jeg har i min opgave forsøgt at redegøre for Evaristti som kunstner, samt analyseret de 2 værker Crash og Helena. Jeg har analyseret på baggrunden for forargelsen og fascinationen af disse værker og har undersøgt hvilke muligheder og begrænsninger kunst kan have som kommunikationsmiddel. Til dette har jeg foretaget mig 4 interviews på bagrund af min viden fra Bourdieus smags, habitus og kapitalbegreber samt spørgsmålet ” Har nogle mennesker bedre forudsætninger for at forstå kunst end andre”.

Synopsis

Titel | Kommunikation muligheder og begrænsninger
- Kunst som kommunikation med udgangspunkt i Marco Evaristti | Fagkombination | Dansk/ samfundsfag | Problemformulering *) | Kunstneren Marco Evaristti er kendt verden over for Guldfisk i blendere, lolitadukker, pumpemaskiner, sæd samt blod –og heroinmalerier. Hans værker vækker forargelse og provokere os, samtidig med at vi vil vide mere og fascineres. Hvordan kan dette være og hvordan kan man koble denne kunstners værker til overemnet ”Kommunikation muligheder og begrænsninger”. Hvad handler Bourdieus smags – habitus og kapital begreber om, hvordan kan man sætte disse begreber i forhold til Marco Evaristtis værker og kan man undersøge om Bourdieus begreber har hold i virkeligheden? | Problemstillinger – herunder hvilke materialer, teorier og metoder, der er relevante i arbejdet med problem-stillingerne | * Hvad er det kunstneren Marco Evaristti vil med hans provokerende værker og på hvilken måde sætter hans værker samfundet under debat? * Hvad handler Bourdieus smags – habitus og kapital begreber om, hvordan kan man sætte disse begreber i forhold til Marco Evaristtis værker og kan man undersøge om Bourdieus begreber har hold i virkeligheden? * Hvilke muligheder og begrænsninger har kunst som kommunikationsmiddel? * Hvorfor provokeres og forarges, men samtidig fascineres vi af de værker Marco Evaristti fremstiller og hvordan skaber det kommunikation mennesker i mellem? Interview: Jeg har med den kvalitative metode ud arbejdet en række spørgsmål som tager udgangspunkt i interview personens baggrund, interesse og forståelse for kunst, samt reaktioner på og tanker om nogle af Marco Evaristtis værker.

Det jeg vil med mine interviews er at undersøge om Bourdiues begreber om kapital og habitus har hold i virkeligheden. Jeg har derfor interviewet to personer med en længere uddannelse, en person med en kort uddannelse samt arbejde i erhvervslivet og til sidst en person med folkeskole eksamen som eneste uddannelse. Jeg har herefter analyseret på personernes svar for at finde ud af om forskellige personer har forskellige forudsætninger for at forstå kunst. Jeg vil igennem opgaven inddrage citater, holdninger og tanker fra mine interviews som en del af besvarelsen på mine problemstillinger. Hvad er det kunstneren Marco Evaristti vil med hans provokerende værker og på hvilken måde sætter hans værker samfundet under debat?
Som kunstner arbejder Evaristti med kunst som beskæftiger sig med livet og udvisker grænsen mellem kunst og hverdag (avantgarde). Han vil udtrykke virkeligheden gennem virkeligheden, med dette mener han at hans kunst ikke kan betragtes som ren fiktion. Han arbejder med temaer der er relevante for den virkelighed vi lever i. Han søger en sand og ærlig holdning til tilværelsen og arbejder på at få os som publikum til at se livets realiteter i øjnene uanset hvor hæslige og skræmmende de er.
De 2 værker jeg har valgt at tage udgangspunkt i og analyser arbejde begge sammen med hver deres emne, som stiller spørgsmål til den verden vi lever i. De er begge udarbejdet med materiale som har en forbindelse med emnet og på den måde nedbryder grænsen mellem fiktion og nonfiktion.

CRASH – 1995(se bilag 1, billedet jeg har analyseret vises til fremlæggelsen i større format)Evaristti ønsker i dette værk at sætte fokus på de mange trafik uheld der forekommer i Bangkok og som kræver op til 30 dødsofre hver eneste dag .
Jeg har benyttet mig af Panofsky’s metode til analysen af dette værk.
3 faser ( præ-ikonografiske, ikonografisk analyse, ikonografisk tolkning)

Crash er en række billeder samt installationer og fotografier. Jeg har valgt at tage udgangspunkt i et maleri fra serien.
1. fase Billedet forekommer meget abstrakt ved første øjekast, da det ikke forestiller et præcist motiv udover det lille ansigt man fornemmer i venstre hjørne og noget der kunne ligne en pil som går tværs gennem billedet og aftryk af dæk i nedereste venstre hjørne som bevæger sig ind mod midten. Jordfarverne i billedet giver en følelse af nedtrykt stemning. Men overordnet er det meget harmonisk at kigge på.(inddrag interview )

2.fase For at forstå dette maleri kræver det at man kender til historien bag og ved hvad det er kunstneren ønsker at sætte fokus på. Det specielle ved dette værk og det som nedbryder grænsen mellem fiktion og nonfiktion som tidligere nævnt er at ofrene for ulykkerne er direkte repræsenteres som materiale i værket. (inddrag interview )
Evaristti havde fået tilladelse af de thailandske myndigheder til at køre med ambulancer ud til ulykkesstederne og indsamle beklædningsstykker samt blod fra ofrene, som han senere malede med på rispapir.
Blod – livs -og dødsmetaforer, rød (inden blodet størknede) aggression, brun = sorg, pil – grafisk tegn for retning, associeres med trafik
3.fase Værket ”Crash” er skabt for at konfrontere os med de mange trafikuheld der forekommer i Bangkok. Dette kommer ikke som sådan til udtryk i billedet medmindre du kender historien bag, samt de brugte materialer. Først der gør maleriet hvad det er fremstillet til nemlig at skabe foragt men også fascination samt sympati for ofrene, hvilket også er vigtigt for kunstneren. (inddrag interview ) an, at hans kunst ikke kan betragtes som ren fiktion. Indholdsmæssigt betyder det, at han Hvad handler Bourdieus smags – habitus og kapital begreber om, hvordan kan man sætte disse begreber i forhold til Marco Evaristtis værker og kan man undersøge om Bourdieus begreber har hold i virkeligheden? I værket "Distinction. A Social Critique of the Judgement of Taste" fra 1979 Pierre Bourdieu mener at forudsætningen for at forstå kunst er, at man gennem uddannelse har fået stimuleret en række erkendelsesmæssige og æstetiske behov. På de højere uddannelser træner man analytisk tilgang og forståelse for abstrakte problemstillinger, og det styrker forståelsen for og interessen i kunsten og kulturen. Den mindre uddannede gruppes lukkes ude af det kulturelle, statusgivende fællesskab. Og lukker sig selv ude. For ifølge Bourdieu medvirker den mindre uddannede gruppe også selv til eksklusionen ved at forstå sig selv som fremmedgjorte og udenforstående. Habitus: ”de indlærte koder” der ligger rammerne for individets handlinger i hverdagen. Samt vaner, holdninger og opførsel. Fx spiller habitus ind på hvorvidt vi kan lide at gå på kunstmuseum eller ej og om hvorvidt man har forudsætning for at forstå hvad man ser. Dog er det vigtigt at huske på at vores habitus kan ændres i løbet af vores liv. Fx Kan det godt være at vi fødes ind nogle rammer som gør at det at gå på museum ikke er noget man gør, dette kan så ændres ifl. Bourdieus ved at man evt. Uddanner sig højere end sine forældre og på den måde får stimuleret interessen for kulturverdenen. Kapital: Kapitalbegrebet forsøger så at forklare hvordan individer med forskellige ressourcer og egenskaber agere ud fra de udgangspunkter de har. Bourdieus forklare hvordan mængden af økonomisk, social og kulturel kapital har indflydelse på hvordan man som individ vurdere og handler. Mængden af kapital spiller altså ind på vores habitus.

Fx Den gymnasium elev der er vokset op i et hjem med rigeligt med kulturel kapital forældre har en videregående uddannelse aviser, diskussioner, udstillinger ”kulturel opdraget” og vant til at fortolke og analysere samfundet omkring sig. Første i familien til at tage en uddannelse. forældre i erhvervslivet evt. folkeskole eksamen samvær omkring tv og det at gå på museum etc. ikke er noget man gør habitus og kapital spiller ind og gør at forudsætningerne for denne elev er forringet. (inddrag interview ) Hvilke muligheder og begrænsninger har kunst som kommunikationsmiddel?

Muligheder: * Ikke begrænset af en sprogbarriere eller afstand. * Får mennesker til at kommunikere og udveksle holdninger og tanker om de værker man oplever. * Visuel kommunikation er hurtigere end skriftsprog. Man kan formidle meget visuelt i et værk uden at sige noget men stadig være meget direkte. * Eks. Hvis Evaristti skulle fortælle os om hans holdninger til klimadebatten ville det blive en meget tyk * (inddrag interview )
Begrænsninger: * Kunstværker taler ikke for sig selv. * % konkrete svar. * Fare for at blive fejltolket * Etik hvad kan man tillade sig? * Provokation med kvaliteter vs. provokation for provokationens skyld

Etikken har fyldt enormt meget i mange af Evaristtis værker og et af de værker hvor det har fyldt en del er i værket ”Helena” også kendt som guldfiskene i blenderen. Som er det værk der har været mest i medierne.
(inddrag interview )
HELENA – 2000 (bilag 2 )
10. Februar, år 2000 havde Evaristti fernisering på galleriet Trapholt Værket indeholdte ikke en ”brugsanvisning” altså opfordrede han ikke publikum til at trykke på knappen til at starte blenderen, dog var det en del af konceptet ved værket at det kunne lade sig gøre.

Dette skete allerede ved åbningen af udstillingen også selvom kunstneren ikke havde forventet det ville ske. Skandalen blev offentliggjort af medierne og ifølge øjenvidende beretninger var det medierepræsentanterne ved ferniseringen som opfordrede publikum til at trykke på knappen.

Det interessante ved dette værk er ikke så meget værket i sig selv. Det er mere spørgsmålet om hvordan det kan være det fik så meget opmærksomhed, hvordan kan det være at lige præcis de her 20 guldfisk, skaber så meget kritik af værket blandt dyreaktivister, når vi ved dyr bliver slagtet og pint hver eneste dag. Evaristti afslører her den hykleriske tilgang vi har til vores sensationslystne samfund, der er stærkt præget af mediernes dominans. Kommunikationsanalysen: Afsender:
Hvem: Marco Evaristti.

Hensigt: Værkets egentlige budskab er at Evaristti vil fortælle om de 3 typer mennesker som er i blandt publikum, som afspejler samfundets øvrige inddeling. 1. Sadisten (der trykker på knappen fordi han/hun kan) 2. Voyeuren (der elsker at se på - medierne) 3. Moralisten (som afskrækkes af at det at blende fisken overhovedet er en mulighed - dyreaktivisterne).

Det som både kan være en mulighed og en begrænsning ift. Dette værk er at der er tale om installationskunst, som ofte kræver aktiv deltagelse fra publikum. Dette skaber derfor kun muligheder hvis publikum vælger at være aktive og ikke passive, for hvis publikum forholder sig passivt til værket er der mulighed for at det falder til jorden.

Her kan man sige af Evaristti ikke vidste om hans værk ville få publikum til at deltage aktivt og derfor skabe den debat det gjorde. Evaristti udtaler selv i et interview at han ikke havde turdet regne med at nogle ville tænde blenderen. Men at det var en del af konceptet at det kunne lade sig gøre. Medium:
Kommunikationen mellem værket ”Helena” og publikum er nonverbal envejskommunikation og bliver også spredt som en vifte altså fra et sted (værket) til mange modtagere. Værket har også en lille flygtighed, da det kan blive ved med at være aktuelt.

”Helena” høre under kategorien nærkommunikation da værket er lige foran dig og du kan lige med det samme trykke på knappen til blenderen hvis du har lyst. Det er det der gør Evaristtis værker meget provokerende, han kommer helt tæt på og som før nævnt nedbryder han de grænser der er mellem fiktion og nonfiktion. Fordi det er så levende, forekommer det mere som virkelighed. Hvor i mod at vi godt ved at der sker dyrmishandling hver eneste dag, for det ser vi i reklamer. Men da der som regel snakkes om dyr meget langt fra vores hver dag bliver det mere virkeligheds fjernt. Vores hjerner foretager sig altså en distancering til virkeligheden. Denne distancering fjerner Evaristtis værk.Modtager:
Alle mennesker. Ikke kun folk der har set værket, men grundet mediernes fremstilling af værket og debatten omkring det, er det et værk som rigtig mange mennesker kender til. (inddrag interview )Hvorfor provokeres og forarges, men samtidig fascineres vi af de værker Marco Evaristti fremstiller og hvordan skaber det kommunikation mennesker i mellem?Det helt grundlæggende i Evaristtis værker er at han som han selv udtaler ”fremstille virkeligheden i form af virkeligheden”. Dette gør han som før nævnt bl.a. med udstillingen af værkerne fra Crash. Hvor han valgte at arbejde med ægte blod og ægte genstande fra forskellige ulykker i Bangkok. Det er når Evaristti anvender materiale der er så autentisk som blod at vi som publikum fascineres. Dette skyldes at man fascineres af det ægte og blodet appellere til publikums egne kropserfaringer og samtidig henviser blod til både livs-og dødsmetaforer. (inddrag interview )Også i værket ”Magdalenas Diary” bruger Evaristti ægte genstande i form af 3.000 brugte kondomer, han havde indsamlet fra prosituerede i Thailand. Igen nedbryder Marco Evaristti den distance som medierne skaber til det tabubelagte emne om prostitution . Vi ved at dette tolereres i vores samfund, men samtidig ties det ihjel og når man står som beskuer og ser på disse brugte kondomer, kommer det hele utrolig tæt på og bliver derfor mere ægte end når vi ser en dokumentar i tv’et. | Metoder | Dansk: * Hermeneutisk metode (fortolkning): Jeg har brugt min forståelse for analyse * Diskursanalyse * Panofsky’s metode 3 faser ( præ-ikonografiske, ikonografisk analyse, ikonografisk tolkning) * Argumentationsanalyse afsender-budskab-modtager * Kommunikationsanalyse * Billedanalyse
Samfundsfag: * Den deduktive metode Bourdieu * InduktionKvalitativ metode: Metoden bruger man, når man ønsker at få flere forskellige holdninger, dybere svar og derved dybere forståelse at det emne der undersøges jeg har benyttet mig af denne metode til at undersøge om mennesker med forskellige baggrunde har forskellige forudsætninger for at forstå kunst. Jeg har også benyttet mig af andres interviews af Marco Evaristti, til at besvare mine problemstillinger. | Konklusion(Kan evt. anføres under *) | Kunstneren Marco Evaristti er kendt verden over for Guldfisk i blendere, lolitadukker, pumpemaskiner, sæd samt blod –og heroinmalerier. Som kunstner arbejder Evaristti med kunst som beskæftiger sig med livet og udvisker grænsen mellem kunst og hverdag. Han vil udtrykke virkeligheden gennem virkeligheden. Dette gør han som før nævnt bl.a. med udstillingen af værkerne fra Crash. Hvor han valgte at arbejde med ægte blod og ægte genstande fra forskellige ulykker i Bangkok. Det er når Evaristti anvender materiale der er så autentisk som blod at vi som publikum fascineres. Dette skyldes at man fascineres af det ægte. Pierre Bourdieu mener at forudsætningen for at forstå kunst er, at man gennem uddannelse har fået stimuleret en række erkendelsesmæssige og æstetiske behov. På de højere uddannelser træner man analytisk tilgang og forståelse for abstrakte problemstillinger, og det styrker forståelsen for og interessen i kunsten og kulturen. Den mindre uddannede gruppes lukkes ude af det kulturelle, statusgivende fællesskab. Og lukker sig selv ude. For ifølge Bourdieu medvirker den mindre uddannede gruppe også selv til eksklusionen ved at forstå sig selv som fremmedgjorte og udenforstående. Jeg har fundet ud af at kapital og habitus begreberne forklare hvordan et individ igennem nogle indlærte koder (habitus) får nogle forskellige holdninger, vaner og opførsler som fx. spiller ind på hvorvidt man kan lide at gå på kunstmuseum eller ej. Kapitalbegrebet forsøger så at forklare hvordan individer med forskellige ressourcer og egenskaber agere ud fra de udgangspunkter de har. Bourdieus forklare hvordan mængden af økonomisk, social og kulturel kapital har indflydelse på hvordan man som individ vurdere og handler. Mængden af kapital spiller altså ind på vores habitus. Dog er det vigtigt at huske på at ens habitus og kapital kan ændre sig i takt med at man flytter sig væk fra sine forældre og udvikler sig som individ (Som vi så med fx gymnasielæren Lise fra et af mine interviews). Ud fra min opgave kan jeg konkludere at kunst har visse muligheder og begrænsninger som kommunikationsform. Muligheder: * Minus sprog barriere og afstand * Informationer og holdninger på tværs af landegrænser * Får mennesker til at kommunikere og udveksle holdninger * Visuel kommunikation er hurtigere end skriftsprogBegrænsninger: * Kræver viden og interesse (kundskab til analyse) —> forskellige forudsætninger for at forstå “kunstens sprog” —> evt. sprogbarriere * Fejltolkning * Etik | Perspektiveringtil bl.a. studierapporten | * AT forløbet ”Det perfekte menneske” etik Hvad kan man tillade sig vi lever i et samfund uden grænser. | Litteratur | Bøger: * Brøndum, Peter og Hansen, Thor. - ”Luk Samfundet Op”. Columbus 2010 * Evaristti, Marco. ”LSD”. Politikens forlag A/S 2003 * Folke, Harrits, Jens & Thorndal, Hansen, Morten. ”Ind i samfundet”. Columbus 2014 * Dideriksen, Marianne, Olsen Mimi, Witzke, Agnes. ”AT-håndbogen”. 2. Udgave. Systime. Links: * http://www.lisbethbonde.dk/artikler/marcoevaristti.htm * http://evaristti.com/index.php/superheroes * http://evaristti.com/index.php/crash * http://kunstonline.dk/profil/marco_evaristti.php * http://www.søndagaften.dk/arkiv//1998/980114.html * http://www.idoart.dk/marco-evaristti-nar-kunst-er-kommunikation/ * http://www.kunsten.nu/artikler/artikel.php?marco+evaristti+trapholt |

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