P043
Performance, design and aesthetics
Convenors:
Torange Khonsari (London Metropolitan University)
Mehrdad Seyf (30 Bird Productions)
Format:
Panels
Location:
SOAS Main Building - 4429
Start time:
3 June, 2018 at 15:30
Session slots:
1

Short abstract:

The quote below by Chantal Mouffe is at the heart of this panel. ''Can artistic practices still play a critical role in a society where the difference between art and advertising have become blurred and where artists and cultural workers have become a necessary part of capitalist production,''

Long abstract:

This panel is to critically address issues of aesthetic generated through collaborative site specific research between performance, design and the city, and social relations that have produced it or have been produced by it. In its most banal, the current dominant aesthetics being produced to make the city are either rehash of nostalgia of the past or a corporate value system of efficient and risk free principles, creating sanitised visual monotony. Unless consciously avoided these are the backdrops to site specific performances. Our work has created subversive permanent installations in opposition to the dominant aesthetic, as a critique and a setting for alternative human relations. It is important to have permanent presence for the unfamiliar aesthetic to become familiar and to claim its place within the city. This panel will question what is this disobedient aesthetic to the current mainstream, and what social relations does that construct? Equally, our work results in challenging established forms of performance, where either narrative or the performer become the fulcrum.  We disturb the relationship between audience and performance by creating fluid and mobile structures with their incoherent aesthetic informed by social relations. These structures refuse to be pinned down in meaning but act as provocative and interruptive objects enabling interpenetration of social spaces and challenging the subject/object perspective in design, performance and the city. The objects that create the disobedient aesthetic are contingent and evolving, they are evocative invitations rather than typologies. Their materiality is embedded in their capacity to be tactical.