the theory and practice of ‘Publicness’ as an everyday revolutionary socially engaged art...
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ABSTRACT “One night after a few drinks about ten years ago, the art critic Robert Garnett, thinking aloud, said, “public art is the only art that doesn’t have a public”. Strictly speaking he is absolutely right: public art has no public, only passers-by. In this respect, public art is no different from post- ers and shop windows, and very different from football pitches, town halls, churches and uni- versities. Public art is consequently riddled with contingency” Dave Beech Freee Collective Ldn UK PROLOGUE This paper presents a series of discussions upon the theory and practice of ‘Publicness’. It offers discussions on the practice of publicness which itself develops from an everyday revolutionary socially engaged art practice. Social engagement does not simply result from resistance to the existing set of conditions but from adapting and transforming the public appa- ratus itself. Publicness “only exists as a function of circula- tion, and of circuits; it is a remarkable point on the circuits that create it and which it creates.... It is defned by entries and exits.... It is a phe - nomenon of trans consistency , a network, be- cause it is fundamentally in contact with other towns. It represents a threshold of de territorial- ization, because whatever the material involved, it must be de territorialized to enter the network, to submit to the polarization 1 .... 1 Deleuze and Guattari-- [AO:PG78] Video Installation 'EEEE EEEEE E Jaguar Lacroix '589 Plateaus’
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