COMMUNICATION- workshops - Eliot Moleba



Assignement- reflection on workshops- art and context- see link to final assignement here
This assignment aims to deepen your understanding of the role of context in shaping public perception of art. Drawing inspiration from Workshop 1, led by Eliot Moleba, students are expected to critically analyze the impact of various contexts on how the public perceives art. The reflection should be 500 words or less. You can include images and illustrations.
  • Reflect on the insights gained from Workshop 1, led by Eliot Moleba.
  • Discuss how the workshop content and discussions have informed your understanding of the relationship between context and public perception in art.

summary of notes related to the assignement
- Define audiences, who is your public
-Consider what your public is seeing
-What does it mean to tell a story? your own story,  another’s story ? What are the responsibilities you have when telling someone else’s story?
-Questioning what is problematic in your practice
- Ethical considerations - how much of them do you want to take on? How does it affect your practice if you prioritise the ethical over the practice?
- The location of inclusion where inclusion is placed (for example in Grønland: Rubin’s Rama’s gate versus the main street. Calling the Main Street Rubina Rana would be inclusion in a different way.
- His audience: this is for those who choose not to come people shy away from the stories . But he has to go to them and that’s where in comes the monument, taking the play to the street is not enough. Theatre is ephemeral not permanent so therefore monuments.
- The notion of those who fit in the public, those who might not necessarily identify with a general Norwegian story .
-  The editing is his presence in the work, and the stories will be published. Writing was like a puzzle where the pieces were not predefined, but where they could be forced and fitted into each other.
- Artwork also eventually becomes the context?
-He had to define what a monument was versus what he assumed a monument to be in the beginning.
- Looking at, with, through art, how can I reach you through art, art and Artist without a relation is an odd concept.
- How to define the monumoment as a performative act, what word to use, what do you see in the generative capacity of the monument? How do we story our projects?
















  • Storying a project.: situating your artistic method 
  • His way Is to look at the pattern of the ideas that were successful to make a template of how to make a monumoment. 
  • How do you want the public to engage with your work? What kind of engagement or response do you want to generate with your work? 
  • Artistic interventions in public space to trigger movement and action as a communal trace (passing on of the memory). 
  • His pattern was: Narrative, Essence, Idea, Action, Abstraction.  
  • Start from this perspective, this point of view (of the original story)
  • interpret the specific moments that resonates with him on a deep level. (point of view moves from them to him) 
  • Also, how does the idea relate to the context? And what context?
  • Now it's about the thing/the idea not about the story anymore (perspectivee moves from him to the idea of the artwork)
  • This thing/idea and then the action, is what simplifies the story. 
  • Move from the simplicity of the circumstance of the story to a broader context (the perspective moves from the art work to the context (to the public?) 
  • The monument is now something that collects slices of people's lives. All these slices, in the long run, means something else to someone else. Being challenged to respond from a different place (or coming from a different context?)Think about the defining your public question. How do you want your audience to engage with your work? What is your ideal form of public response? This defines your work to.