Saturday 19 May 2012

ozymandias or call for submissions

I suppose that the nature of public art and installations has changed significantly, given the volume lent to the voice of praise and criticism and that the failure or success of icons—landmarks, anchors, can be instantly and broadly adjudicated.

While looking at some of the new monuments being readied for London and reading about the generally negative reception regarding this legacy of eye-sores, I was thinking how public artwork has changed as well through corporate sponsorship: stadia, libraries, towers and parks still can bear the marks of megalomaniacal egos for something colossal and enduring but unlike the pyramids, temples and theatres (or even military parades), the public is estranged from the selection and even the building process. Sometimes, it seems too, that there’s not enough space, patience or time to contain these grand aspirations (though the lasting inheritance becomes the accompanying security presence in many cases) and to impress with equally indulgent sums of money, so volunteering or competing to host high-profile events can placate the collective need for awe and something akin to respect. The hosts and underwriters do well with these elite and exclusive congresses, grabbing the public’s attention without regard for their lack of involvement, displaced and without the option to protest or participate. London’s becoming a fine example of this shilling and pandering, but so are other places too, in grand and imperial style, like the US eagerly agreeing to entertain the world’s leadership in a succession of conferences, the G8 and NATO summits, closely followed by the Bilderberg Group’s (DE/EN) meeting.