Transitions – art and public transport

Through the action research I wanted to further explore my fascination with the transient, fluid and in-between character that various public transport spaces have in common – something that goes beyond their obvious function. I was interested in how the spaces in this particular context usually remain non-places (impersonal and undistinguished, unendowed with value); the time we occupy them becomes non-time (devoid of structure other than the itinerary of the travel itself); and how, when inhabiting them, we gladly shed our individual identities to become passengers, commuters and travellers, enjoying temporary anonymity.

In more practical terms, my research concerned possibilities for creating and disseminating art in public transport settings. For this part of my enquiry I decided to focus on investigating the wider context (looking at examples of artistic projects situated in public transport settings); developing my individual arts practice (researching and testing ideas for my own site – or people-specific arts project); and looking into potential ways of disseminating various art forms and projects in the public transport domain.

As a freelance artist working locally, nationally and internationally, I use public transport regularly and quite extensively, which proved very useful during the initial period of my research. Not only was I able to conduct plentiful observations of other people’s behaviour and my own feelings when using public transport, the hours spent in waiting rooms and departure lounges also provided me with the time to read numerous books on the subject by authors such as: Alain de Botton, Yi-Fu Tuan, Edward T. Hall and Marc Augé. Drawing on their studies of spaces, places and non-places I wrote a short essay on anthropological analyses of public transport sites.

The next phase of my research involved extensive study of examples of artworks inspired by, or created for, a public transport context. I studied existing partnerships between public transport companies and artists, as well as art galleries operating within public transport settings, and other artistic ventures happening on buses and trains, at train stations and airports. I was astounded by the large number and variety of projects and initiatives relevant to my research that I found in the process of this enquiry.

The abundance of material collected was one of the reasons why, half-way into the research period, I decided to share the results of my exploration with a wider audience and set up a public weblog to document the process. I intend to continue using the blog as a tool for developing further ideas.

Another important element of my research was consulting people that use public transport and other artists that have an interest in developing projects in this particular context. A survey that I conducted amongst (mostly local) commuters and artists was a huge success attracting over fifty respondents who shared their interesting, thought provoking opinions and ideas that I then compiled and published online.

Arranging meetings with local public transport companies to have an informal chat about my research and potential possibilities for collaboration with local artists, unfortunately, turned out to be unsuccessful within the time-scale of this research, despite the support of Longhouse.

However, what first seemed like a disadvantage soon turned out to be an exciting opportunity; a chance to try out a different artistic strategy. I decided for my final project to take the form of informal and subtle performative actions in public transport settings that did not require filling out forms or obtaining permits. This choice granted me a greater flexibility and allowed me to be independent in shaping the project. I also liked the idea of covert artistic interventions that would not be presented to the general public as artistic actions, but instead subtly challenge the usual behavioural norms and cause a certain amount of bafflement amongst the commuters in the spirit of Adrian Piper.

In the early stages of my research I produced some photographic work by doing a full circuit on the 11c bus and documenting the journey to reflect on the notion of the transitional. Later, I became interested in artistic strategies that were not necessarily planned or experienced as convivial, such as friendly gestures or gifts, but somewhat antagonistic and political – a move partly informed by my further academic research into various participation models as described by Nicolas Bourriaud, Claire Bishop or Grant H. Kester.

In this framework it was particularly tempting to address behaviours and situations that are controversial and not generally seen as positive but often encountered in public transport contexts: loud music on buses, forced proximity to strangers or the overwhelming presence of CCTV cameras. My reaction to these was a series of satirical public interventions.

One of the actions involved myself and seven other people simultaneously playing natural sounds on buses (including birdsong, crows, frogs and dogs barking) using mobile phones. Partly a performance, partly a temporary multi channel sound installation for buses, the project was aimed at questioning the unwritten codes of behaviour we tend to abide by as well as underlying class, age and racial tensions. Another intervention involved myself travelling across the West Midlands with a portable CCTV camera attached to my clothing in true sousveillance fashion (sousveillance means ‘to watch from below’ – inverse surveillance). Surprisingly this caused amusement amongst fellow passengers rather than more wary reactions.

The last stage of my research focused on investigating and collating the various ideas for dissemination of artworks in the public transport domain that go beyond the usual public art commissions with the primary aim of discouraging vandalism. This resource can hopefully be used in the future both by myself and by other artists interested in exploring this exciting yet challenging context for producing and placing contemporary art.

Undertaking the research has definitely resulted in my developing new ideas, working processes and approaches that I will be able to use in my future practice. Through realising the interventions, I grew more confident in relation to working on projects that utilise performance elements and take place in the public domain. The research also allowed me to further develop reflective thinking during all stages of the creative process.

www.alicjarogalska.co.uk
www.transitions-research.blogspot.com