Umetnost v javnem prostoru: urbane družbene koreografije mesta Dunaj. (Slovenian)

The article deals with the expanded discourse on art in the public space or new public art using the example of the city of Vienna, where there is an increasing emphasis on interactivity, participation and performativity. In addition to the agonistic public space, the author uses the concept of social choreography, which refers to public practice in the new conditions of social life. In the first part of the article, the project of agonistic architecture and urbanism is presented, which stems from the idea of the agonist model of democratic politics introduced by Chantal Mouffe, and essentially concerns the issue of public space. As the »agonist« label itself suggests, there is no central consensus, but instead antagonism. In this context, one must take into account the broader picture of agonist democratisation of the entire architectural and urban process, which includes the pluralism of political positions and poses key questions about Western democracy itself. Contemporary art is often embedded in initiatives that seek to redefine urban public space and, at the same time, enter the field of activism. With the help of Peter Weibl's reflection on activism in new public art, the article points to the boundaries of participation and the shortcomings of representative democracy that need further consideration. The participation of civil society in the political sphere is parallel to the growing involvement of the viewer as a participant in visual arts since the emergence of a performative turn in the 1960s. This turn also included an urban public space, thus setting the classical concept of public sculpture in question, which is illustrated in the second part of the article using the example of good practice in Vienna, where the Vienna Institute of Public Art (Kunst im Öffentliche Raum - KÖR) was institutionalised in 2004. From the view of the agonistic approach presented in the first part of this article, critical art is one that causes disagreement in public and makes visible what the dominant consensus conceals or erases (Mouffe). Thus, in the second part the focus is also on projects of new public art that are realised outside the KÖR's institutional frameworks: these include interventions and actions in the public space, initiatives of the politics of remembering, performative and participatory projects that are linked to participatory urban development procedures, and so on. Furthermore, the article reflects on the role of performativity in the public space of Vienna using selected choreographies of the Impulstanz 2018 festival, applying the concept of social choreography by Andrew Hewitt, which refers to ideology as a performance both in dance and everyday movement. In the concluding part, the article affirms social choreography as a framework for the analysis of the current political ideology in the urban public sphere, using the example of Vienna. [ABSTRACT FROM AUTHOR]

Članek pretrese teoretski diskurz o javnem prostoru in t. i. novi javni umetnosti, pri kateri je vse več poudarka na interaktivnosti, participaciji in performativnosti, na primeru mesta Dunaj. Poleg agonističnega javnega prostora avtorica poda genealogijo aktivizma v novi javni umetnosti in uporabi koncept družbene koreografije, ki se nanaša na javno prakso v novih pogojih družbenega življenja. [ABSTRACT FROM AUTHOR]

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