Krzysztof Wodiczko’s "Xenological Instruments", an Equipment for a City of Strangers: Urban Spaces and De-Alienation of the Immigrant

Krzysztof Wodiczko’s "Xenological Instruments", an Equipment for a City of Strangers: Urban Spaces and De-Alienation of the Immigrant

The article considers how the public art of Krzysztof Wodiczko’s acts as part of the discourse of political intervention in the urban space of marginalized people through technological and artistic media.The analysis of his “Xenological Instruments” designed in the 1990s - and in particular their la...

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Bibliographic Details
Main Author: Guglielmo Scafirimuto
Format: Article
Language:English
Published: University of Bologna 2018-12-01
Series:Cinergie
Subjects:
Video
Performance
Wodiczko
Immigration
Public Art
Online Access:https://cinergie.unibo.it/article/view/8319
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spelling doaj-a70dad34cdac4ef5832bc6b56ee6dfd42020-11-24T21:01:22ZengUniversity of BolognaCinergie2280-94812018-12-017149710310.6092/issn.2280-9481/83197589Krzysztof Wodiczko’s "Xenological Instruments", an Equipment for a City of Strangers: Urban Spaces and De-Alienation of the ImmigrantGuglielmo Scafirimuto0Université Sorbonne Nouvelle - Paris 3The article considers how the public art of Krzysztof Wodiczko’s acts as part of the discourse of political intervention in the urban space of marginalized people through technological and artistic media.The analysis of his “Xenological Instruments” designed in the 1990s - and in particular their last version, the Mouthpiece (1995) –  focuses on Wodiczko’s “maieutic” work about immigrants in several international cities, and on his efforts to give them a voice and visibility in public space. Brought to different urban locations by “stranger’s” bodies, these “instruments”, which are technological prostheses with a portable screen, are able to stimulate the dialogue with local people opening the possibility of creating new democratic spaces of confrontation. Wodiczko audience interactivity outside the exhibition space of the museum, hoping to test the actual dynamics of our democracies and to charge his art with a “scandalous functionalism”.https://cinergie.unibo.it/article/view/8319VideoPerformanceWodiczkoImmigrationPublic Art
collection DOAJ
language English
format Article
sources DOAJ
author Guglielmo Scafirimuto
spellingShingle Guglielmo Scafirimuto
Krzysztof Wodiczko’s "Xenological Instruments", an Equipment for a City of Strangers: Urban Spaces and De-Alienation of the Immigrant
Cinergie
Video
Performance
Wodiczko
Immigration
Public Art
author_facet Guglielmo Scafirimuto
author_sort Guglielmo Scafirimuto
title Krzysztof Wodiczko’s "Xenological Instruments", an Equipment for a City of Strangers: Urban Spaces and De-Alienation of the Immigrant
title_short Krzysztof Wodiczko’s "Xenological Instruments", an Equipment for a City of Strangers: Urban Spaces and De-Alienation of the Immigrant
title_full Krzysztof Wodiczko’s "Xenological Instruments", an Equipment for a City of Strangers: Urban Spaces and De-Alienation of the Immigrant
title_fullStr Krzysztof Wodiczko’s "Xenological Instruments", an Equipment for a City of Strangers: Urban Spaces and De-Alienation of the Immigrant
title_full_unstemmed Krzysztof Wodiczko’s "Xenological Instruments", an Equipment for a City of Strangers: Urban Spaces and De-Alienation of the Immigrant
title_sort krzysztof wodiczko’s "xenological instruments", an equipment for a city of strangers: urban spaces and de-alienation of the immigrant
publisher University of Bologna
series Cinergie
issn 2280-9481
publishDate 2018-12-01
description The article considers how the public art of Krzysztof Wodiczko’s acts as part of the discourse of political intervention in the urban space of marginalized people through technological and artistic media.The analysis of his “Xenological Instruments” designed in the 1990s - and in particular their last version, the Mouthpiece (1995) –  focuses on Wodiczko’s “maieutic” work about immigrants in several international cities, and on his efforts to give them a voice and visibility in public space. Brought to different urban locations by “stranger’s” bodies, these “instruments”, which are technological prostheses with a portable screen, are able to stimulate the dialogue with local people opening the possibility of creating new democratic spaces of confrontation. Wodiczko audience interactivity outside the exhibition space of the museum, hoping to test the actual dynamics of our democracies and to charge his art with a “scandalous functionalism”.
topic Video
Performance
Wodiczko
Immigration
Public Art
url https://cinergie.unibo.it/article/view/8319
work_keys_str_mv AT guglielmoscafirimuto krzysztofwodiczkosxenologicalinstrumentsanequipmentforacityofstrangersurbanspacesanddealienationoftheimmigrant
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