Participatory art refers to a series of artistic practices, including relational aesthetics, where the focus is on the role of the viewer or audience in the physical or conceptual realization and reception of the artwork. The core part of participating in art is the active participation of the audience or audience. Many formal practices involved in art emphasize the role of collaboration in the realization of artworks, the role of professional artists as the sole creator or author of artworks, and at the same time establish social connections through public meaning and activities. The term “participatory art” covers a series of art practices that are urgently needed to provide guidance by society, politics, geography, economy and culture, such as community art, radical art, new public art, social participation art and dialogue art.
Olafur Eliasson's various meteorological projects (2003) created a place for tourists to play their own shadow effects. When Eliasson began mass production of fully immersive installations, its ability to combine art, science and natural phenomena to enhance the audience experience reached its peak. Eliasson transformed the large turbine hall of the Tate Modern in London into a charming artificial environment. The artwork consists of hundreds of orange-yellow LED lights placed in a circular bracket. The ceiling of the space is covered with a large mirror, and visitors can see themselves like tiny black shadows on an orange ocean. In addition, some steamers will produce some kind of mist, making the whole scene more realistic. This kind of device gives the illusion of standing in front of the sun, causing visitors to start lying in the sun as lying on the beach. Many viewers of the exhibition lay relaxed on the floor, waving their hands and legs to participate in the work. In winter, people miss the sun too much, even if it is fake it can relax people. The mirrored ceiling adds another layer to the whole work: the visitors keep looking up, playing with their own reflections. It creates another dimension of space, almost creating a parallel, relative and complementary universe. By bringing sunlight into the room, people can be encouraged to reconsider their relationship with extraordinary beauty, which is inherently unknown. According to reports, this awe-inspiring experience attracted 2 million tourists, which fully proves that Eliasson's mission is to influence a person to reconnect with the world around him, and that this mission is indeed successful.
In the 2003 weather project at Tate Modern, I found that shared experiences amplify the experience and make it more explicit in some way. The fact that people like to enter the turbine hall with others has begun to be shared, which can almost be called a collective movement. This fact adds meaning to the project. The feeling of sharing becomes the protagonist of the project and determines the actual meaning of the project.
Reference
Graham, B. (2010). Participative Systems. In S. Dietz (Ed.), Rethinking curating: art after new media (pp. 111–143). Cambridge: MIT Press.
Photos reserved from: https://olafureliasson.net/archive/artwork/WEK101003/the-weather-project
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