Public art is no longer confined to a small and private space but faces a public space with strong publicity. The so-called publicity of public art is the existence of art as a public space. The publicity of public art lies in the elimination of privacy and individuality, and emphasises the sharing of art, which is inseparable from the democracy and popularisation of art. The publicity of public art is not an artistic style or genre, but a reflection and reflection of social public consciousness and ideas in the field of art. Public art is often set up in public places or areas, open to the public, and shared by the public. In other words, public art is democratic, open and facing social groups or ethnic groups. Public art has a wide range of public concepts and social welfare paradigms and pays attention to the evolution of popular culture and public aesthetic appeal. The conception, production and implementation of public art all reflect the participation of the public, and it is completed in the context of free communication and mutual discussion among the public. Seeking public attention and recognition is an important feature of public art. It moves from indoors and art galleries to outdoor and public spaces, from “on the shelf” to “under the shelf”, and from individual creation as the centre to the reception effect of the masses at the core. It is a major change in art.
Freeman & Sheller’s (2015) indicated that “we need new ways to think about digital art and its relation to public art, because digital culture overflows the public sphere and inflects public space in diverse and complex ways: visible and invisible, planned and unplanned, orchestrated and by chance, or perhaps dependent upon the emergent serendipities of ‘chance orchestration”. Following embodiment is not a common light show, but a deeper interaction between architecture, technology, art and people, such as the GreenPix built during the 2008 Olympic Games, which is China’s first photovoltaic power generation system. The first self-sufficient organic system that collects solar energy during the day and converts it into electrical energy and uses this electrical energy to light up the screen in the dark, and also mirrors the daily weather changes.
The entire media facade of this building is composed of 2292 colourful LED luminous points, an area equivalent to 24,000 square feet (2200 m2) of large dynamic content display screen. Because the building is facing the main traffic road, 90% of people passing by will see it from the car, and this curtain wall is like a giant outdoor billboard. But the architect hopes that this media curtain wall can become a work of art. The large screen and unique low resolution enhance the abstract visual effect of the media. Compared with the commercial application of the high-resolution screen on the traditional media curtain wall, GreenPix provides a form of communication with artistic characteristics.
Reference
Etherington,R.(2008). Greenpix media wall by Simone Giostra & Partners . [image]
Freeman, J. C., & Sheller, M. (2015). Editors’ Statement: Hybrid Space and Digital Public Art. Public Art Dialogue, 5(1), 1–8.
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