ニック・リグルにおける「ストリートアート」と「社会的開放」の理論：「アートプロジェクト」の美的評価―その理論的モデルを求めて

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  • ニック　リグル　ニ　オケル　ストリート　アート　ト　シャカイテキ　カイホウ　ノ　リロン　アート　プロジェクト　ノ　ビテキ　ヒョウカ　ソノ　リロンテキ　モデル　ヲ　モトメテ
  • ニック ・ リグル ニ オケル 「 ストリートアート 」 ト 「 シャカイテキ カイホウ 」 ノ リロン : 「 アートプロジェクト 」 ノ ビテキ ヒョウカ : ソノ リロンテキ モデル オ モトメテ

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This paper reviews Nick Riggle’s works on art and the aesthetic in public spaces, in order to examine their applicability to analysis of “art projects”. In his article Street Art: The Transfiguration of Commonplaces, Riggle defines street art as an art, whose material use of the street is internal to its meaning. Mutatis mutandis, his definition of street turns into the definition of art project as process of encounter and negotiation between street (as space for the public) and artworld institutions. Riggle analyzes in On Being Awesome: A Unified theory of How Not to Suck “awesomeness” as an ethico-aesthetic value: He defines “social opening” as deviation from norms and rolls and expression of individuality in social practice: If someone’s “social opening” is appreciated by others with their own “social opening”, the mutual appreciation has the value of “awesomeness”. Riggle finds “awesomeness” in wide variety of (sometimes ephemeral) community building practices, including artistic practices called “relational art” or “dialogical art”. The theory of “awesomeness” reveals that the aesthetic value of art project depends not only on social opening of participants but also that of observers.

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  • Co*Design

    Co*Design 10 53-71, 2021-07-31

    大阪大学COデザインセンター

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