Krzystof Wodiczko’s artistic practice transforms public spaces into sites of collective memory and historical memorialization. He has worked with diverse populations including the homeless, war veterans, and victims of global atrocities such as Hiroshima. Wodiczko’s work is often temporal and doesn’t physically alter the space. Rather, he creates a metaphysical alteration of our perception of events and public spaces by projecting poignant imagery and narratives directly on well known buildings, statues, or other iconic structures in urban environments. His installations are largely politically charged and powerfully engage the viewers to reflect on their own trauma and relationship to both past and current events.
For example, Abraham Lincoln: War Veteran Projection, comprised of videos of fourteen U.S. Veterans talking about the effects that going to war has had on them. Wodiczko projected the video on the statue of Abraham Lincoln in Union Square so that each participant’s image embodied the form of the sixteenth President.
Wodiczko’s work presents a great opportunity for educators to discuss the personal ramifications of historical events and iconic sites. Public art works such as Abraham Lincoln: War Veteran Projection supports social and emotional learning (SEL) because it shapes social awareness, self awareness, and relationship skills by bringing a diverse population together inside the park to share in a moment of empathy. In making these poignant projects, Wodiczko relies on a strong collaborative relationship built on trust and engagement from both the subjects of his work and the viewers. Another major aspect of Wodiczko’s work is bringing an awareness and contemplation of the social and emotional connections we have to public spaces. In conjunction with Abraham Lincoln: War Veteran Projection, More Art developed a curriculum for middle school classrooms that explored the historical and contemporary functions of Union Square and the role of public spaces within the community at large.
Freire (1970)called for an educational model where we learn by participating in social and political events. To him, education and politics are inseparable and the student is as equally responsible in the creation of knowledge as the teacher is. There are many examples from contemporary art that vividly depict these ideas. This ongoing examination will take a look at socially engaged works of art within the public space that are made in collaboration with diverse populations.
Ofri Cnaani’s Moon Guardians (2013), was a video installation (produced by More Art), which the artist projected on a historic building in Gansevoort Plaza. The site-specific project examined the socio-historical context of New York City’s Meatpacking District, which has undergone significant changes throughout its storied history. In realizing this project, Cnaani worked with local public High School students who interviewed several longtime residents from the neighborhood. Many of these residents, including a butcher, a drag queen, an art gallerist, and an elderly couple, could no longer afford to live there. By reflecting on their memories of the neighborhood before it became the fashionable hub it is today, they portrayed a vibrant narrative of its diverse history. Cnaani filmed them in a style that is distinctly haunting. Each of these characters appeared every night, lit up from a vista on the building, and performed moments from their lives when they lived there. The result was a powerful juxtaposition of old and new New York.
Moon Guardians symbolically details the relationship between the oppressor (gentrification) and the oppressed (displaced longtime members of the community) by conflating the two groups together. We are invited into the past, but cannot fully escape reality because we are aware that the people we’re viewing are essentially spectres that appear from within an unfamiliar frontier. The working class, small business person, and loft dwelling artist have vanished in favor of high-end products, chic-boutiques, and luxury apartments. The contradictions between the gentrifiers and the gentrified and the realization of the inequity between the two groups is exemplary of what Friere coined the ‘critical conscious.’
Brandon Ballengée’s Love Motel for Insects is a great example of how contemporary art has the ability to enhance a K-12 curriculum that focuses on STEAM (Science, Technology, Engineering, Art, and Mathematics) learning. Love Motel for Insects is an ongoing public art installation raising awareness about local ecosystems by connecting humans and nocturnal anthropods.
The nocturnal insects are attracted by UV lights, creating a performative scene when the sun goes down. These ‘social sculptures’ bring humans and insects together in an intimate setting and offers a unique opportunity to witness tiny and often elusive organisms in action. Ballengée accompanies these installations with talks and workshops. Love Motel for Insects is a great example of how we can use art in a non-intrusive manner to create something that gives us insight into the natural world.