PUBLIC ART STUDY STUDIO/ WEEK

Kwon, M. (2002) One Place After Another - site-specific art and locational identity. MIT Press. Available at: http://web.mit.edu/allanmc/ www/kwon1.pdf (Accessed: November 9, 2022).

Kwon, Miwon, One Place After Another - site-specific art and locational identity,

Through urban theory, postmodernist critiques of art and architecture, and debates on the politics of identity and the public sphere, this book tackles the siting of art as more than a question of art. It examines the exclusivity of place as a complex code for the precarious relationship between place and identity in the late capitalist era. This chapter focuses on the critical capacity of public art works in relation to the ways in which the works themselves are formed and the controversies over the places that constitute the public thing, giving the reader a deeper understanding of the idiosyncrasies of the modes of operation of sites and the contradictions behind public space.

The chapter allowed me to understand that the artist becomes a place through his or her history, that is to say, he or she becomes the necessary author of authorised and validated site interventions. The assumed uniqueness of a place is thus marked by the artist's 'service of intervention'. Through the author's portrayal of the expanding concept of site specificity in artistic practice over the last forty years, I gained insight into understanding today's practice of site specificity and its political consequences or alliances

SITE :Cadigal green garden. Reflecting the integration and balance of architecture with the natural environment, the concrete seating is always flanked by shrubs and trees, providing a comfortable resting environment that attracts many people to rest in this space and use this public space. We have tried to use our own bodies as materials to engage with the site, and to explore how people move around the site and how they intervene in the environment. The conversation with others during the event explores the distance between the individual and the other person, through their eyes and movements.

The distance between an individual and another person is explored, not only on a physical level but also on a psychological level. By sitting straight next to a stranger in a garden, the other person's eyes, behaviour and words reflect his defensiveness.

The use of barricades in the middle of the road to direct students to cross the road as a matter of priority, reflecting the concept of 'order' through this action. People intervene in place through action.

The distance between an individual and another person is explored. Single or multiple chairs are set up in the site, the conversation with an unfamiliar classmate explores the meaning of two close chairs and the meaning of human interaction: the need for closeness but also the need for separate space in the relationship

Lindy Lee, Secret World of a Starlight Ember 2020, stainless steel, LED

During the day, the work reflects the grandeur of life around it. People are in the midst of it, blending into the harbour, the buildings and the reflections of the sky, emphasising that humans are part of nature. The sculptures absorb and reflect their surroundings. At night, the work radiates light, shimmering like stardust and casting shadows beneath it.

Located at the location of the MCA forecourt overlooking Sydney Harbour, the gleaming polished stainless steel sculpture is 5 metres wide and is connected by thousands of carefully arranged perforations that represent the wonders of the spiral universe. Suspended in the space, the artwork becomes one of the icons of the mca, attracting passers-by or visitors to the MCA and transforming the public space. The artwork has an entrance in the middle to reflect the view of the harbour.

In my opinion this work is successful as it consults the texture of the materials and his current usage of the site well, the artwork successfully transforms and engages the public space. The author's capture of the sublime and the ephemeral and his awareness of the impact of the environment resonates with the viewer in a particular way.

gettyresearch (2013) Ed Ruscha's Hollywood Boulevard, 1973 and 2002 (Modern Architecture in Los Angeles), YouTube. Getty Research Institute. Available at: https://www.youtube.com/ watch?v=6KIvGMVhaPs (Accessed: November 9, 2022).

From the lecture: Material out of place: interaction and reaction. For performing art, I think the artist Agnes Denes and Richard LONG influenced me a lot. They shows their intervention of the site through special materials and actions.

Richard LONG A line made by walking, England 1967 Walking a in Peru, 1972

Richard LONG's physical intervention in the landscape is documented by walking back and forth across fields and meadows until the flat turf is illuminated by the sun and turned into a line. Photographs of the paths his feet leave in the grass, a fixed route of movement, set a precedent that art could be a journey. These walking and temporary passage works are documented in photographs, maps and written works in which time and distance, place names and measurements of phenomena are the vocabulary of original ideas and powerful, condensed narratives.

Long's work offers me a critique of art systems and forms, values and language. It comments on the linear development of human life. His work has given me a greater understanding of earth art, LONG earth art incorporates aspects of minimalism and meets directly in the landscape.

Agnes Denes, Wheatfield- A Confrontation Battery Park Landfill Downtown Manhattan 1982

Denes planted a vast field of wheat in 1982 in order to protest against global warming and economic inequality in the landfill site where the Twin Towers were built in downtown Manhattan. The wheat field is a symbol, a universal concept; it represents food, energy, commerce, world trade and the economy. It speaks of mismanagement, waste, world hunger and ecological problems. It draws attention to our misplaced priorities. Growing wheat on $4.5 billion worth of land creates a strong irony.

I think this is a masterpiece of iconic and confrontational power. Unlike other works of land art, this work uses living materials that change form, have short life cycles, are seasonally linked, and eventually harvest and die. In this project, nature reclaims urban space through a simple yet playful ecological image - a wheat field growing in the heart of New York City, against a backdrop of urban skyscrapers, once again becoming a still point in our ordinary lives. It is not just a work of art, but also a driving force for building community and social engagement. As a temporary work, it does not create a permanent mark on the city, they provide an ephemeral experience and leave a memory, and allow the artist trial and error, creating more possibilities

Tate (1967) 'a line made by walking', Richard Long, 1967, Tate. Available at: https://www. tate.org.uk/art/artworks/long-a-line-made-bywalking-p07149 (Accessed: November 9, 2022). Hoban, P. (2019) Agnes Denes' prophetic Wheatfield remains as relevant as ever, Architectural Digest. Architectural Digest. Available at: https://www.architecturaldigest.com/story/agnes-denes-propheticwheatfield-remains-as-relevant-as-ever (Accessed: November 9, 2022). 12

Tipton, Gemma, Public Art: Memory and Tradition

The article explains in detail the meaning of public art in memory and tradition. Historically, sculpture in the public domain has mostly been created for commemorative purposes, and as time passes and perceptions change, the style and meaning of monuments become controversial. Historically monuments have emphasised victory and glory through the use of huge pillars, men on large horses and so on. Inevitably, monuments to the dead exist for the living. In addition to providing proof of victory, memorials fulfil the social function of providing a focus for memory. Memorials replace the memory of the past with the objects of today and the politics of today. The events of the past are interpreted in a contemporary way, sometimes with a 'politically correct' interpretation. In political and social terms, memorials have in some cases also come to play the role of cultural icons and tourist attractions, even beyond their initial primary function.

A minimalist approach is often taken in the design of contemporary monuments so that they are more open to interpretation and subjectivity by those who visit them. The design details and symbolism of the monument represent the complexity of the issues and the cultural symbolism of the monument.

History & Heritage (no date) Visit Shepparton and Surrounds. Available at: https://visitshepparton.com.au/see-and-do/historyand-heritage/!/view/sir-murray-bourchier-memorial-statue-1158 (Accessed: November 9, 2022). Taj Mahal (2022) Encyclopædia Britannica. Encyclopædia Britannica, inc. Available at: https://www.britannica.com/topic/Taj-Mahal (Accessed: November 9, 2022).

In shorts people want art/ design/ landscaping and culture to support dominant ideological values and beliefs, to project a positive image and foster a sense of community, to promote human interaction, economic growth, social activity etc. But contemporary socially engaged art is now also proving its effectiveness in shaping new and more inclusive social agendas for the future. the role of memorial today is not only as a form of transferring cultural knowledge into our everyday lives to enhance urban memory, provide proof of triumph, and act as a cultural icon, but also as a as a tourist attraction and as a means of increasing economic development.

Krzysztof Wodiczko interview with Art21 on monuments

https://news.artnet.com/exhibitions/art21-krzysztof-wodiczko-1808949

The article and video present the idea of using monuments to give a voice to the voiceless. On the monument at Madison Square Park Conservancy in New York, Wodiczko projected video footage of refugees talking about their experiences directly onto the Farragut statue, perfectly aligning their arms and faces with the arms and faces of the monument mirroring each other. At night the park visitors are confronted with the voice and gestures of a 'living' refugee. This creates the interactivity of the monument, using it to help those who are alive and making it more meaningful to those who are still alive.

In addition the author proposes to make the monument practical, so that it can be more than just a memorial. People have always gathered in front of monuments for events or protests, but this often has less to do with historical awareness and more to do with the convenience of finding a place to rest. The design of the monument therefore needs to take its practicality into account.

Art21 - Krzysztof Wodiczko: Monument for the living (2020) artecinema. Available at: https://artecinema.com/2020-programme-blog/2020/art21-krzysztofwodiczko-monument-for-the-living (Accessed: November 9, 2022).

The work is located in the back garden of the classroom, which is a place that is used as an outdoor site for plasterwork, an area that blends the artificial and the natural.

The space suggests the mutual invasion and occupation of the natural and the artificial by collecting two different materials, the artificial and the natural. However, after a long period of disuse the plants 'invade' the man-made product, creating a coexistence of the artificial and the natural. In this work the green moss clings to the red bricks, the red-green, the soft and hard, the vibrant and the inanimate objects contrast visually and tactilely. This intervention is evident, embodied in the surface of the objects, as can be known through the photographs. His interventions are continuous in nature, naturally occurring and continuing. I have used quantities of branches to add to the bricks, bricks used to be made by the earth, and plants growing in the earth, and through this combination the relationship between the natural and the artificial is reflected, it is relative and can co-exist. The aim of the work is to make the viewer rethink the relationship between nature and man-made objects, to protect and respect nature.

This week's lecture focused on time, space, place and materiality. The designers use a variety of materials and technologies to analyse the symbolism of the different materials in depth, and they use technology such as live projections and visuals to allow the audience to participate in the work and achieve an immersive effect. They also use political, cultural and philosophical elements in their works to achieve a deeper meaning, revealing facts and leading the audience to think. I focused on Nam June Palk’s TV Buddhas and Joan Brassil for deeper research.

Nam June Palk, TV Buddhas, 1974, Closed circuit video installation, bronze sculpture

A camera is positioned in front of the statue of the Buddha, recording it while this projected image is played on a futuristic looking white television screen. The work gives the impression that the Buddha is destined to be trapped in a closed circuit loop forever, an infinite play on his reflection on the television screen. The installation highlights the differences between East and West and juxtaposes modern or futuristic elements with historical ones. It also includes other themes such as the maintenance of the social screen and the display of issues such as religion and history on the screen. The designer successfully juxtaposes modern and emerging technologies with the religious and historical themes of his society and encodes these messages in the form of images in the installation. The installation also conveys the vanity of modernity, with the Buddha contemplating and focusing on his own image, driven by media and technology, as much as the self-absorption of society. Another message conveyed by the installation is that of surveillance. As the Buddha gazes at himself and the viewer watching the art installation, Nam June Paik demonstrates the constant surveillance facilitated by technology and media.

In my opinion, the designer has succeeded in using art as a code to convey a specific message to the viewer. The viewer who will be watching acts as a translator, decoding these visual symbols and images in an artistic form and analysing their meaning according to his own experience, while the work gives me new creative ideas that can be used with different technological means in order to achieve the effect.

Stacy, C. (2017) Nam june Paik's TV Buddhas, Medium. Medium. Available at: https://medium. com/@codenamecatstac/nam-june-paiks-tv-buddhas-e3606957b23f (Accessed: November 9, 2022).

Joan Brassil, Randomly - Now and Then, 1990

The work consists of eight amphibolite mining cores attached to electronic components that allow their crystal structures to vibrate at resonant frequencies to be transformed into perceptible sounds, connecting sight and sound between the objects and the viewer. The different sounds randomly fill the exhibition space, their sound reminding one of the deeper processes of energy transformation from the lava to the igneous rocks that formed them. An observation of the natural world - metamorphosis, symbiosis and the transfer of energy from one state to another.

I think the sense of wonder and philosophical curiosity she injects into her practice combining art and science, the tangible and the intangible, making space audible and time visible is a very creative idea.

Randomly - now and then: MCA Australia (no date) Welcome to the Museum of Contemporary Art Australia, Sydney. Available at: https://www.mca.com.au/artists-works/works/2015.64A-E/ (Accessed: November 9, 2022).

Institute for Public Art Archive

https://www.instituteforpublicart.org/

TEETER TOTTER WALL, Ronald Rael and Virginia San Fratello (Rael San Fratello); Omar Rios (Colectivo Chopeke)

Teeter totter Wall is a project that aims to enter the socio-political arena in a playful way. The artists engage in a creative process to find a mechanism to engage in an angry, increasingly hateful political discussion through a display that brings empathy and playfulness. The project juxtaposes bright colours, youth, play, fun and joy against policies and misguided beliefs based on nationalism, elitism, militarism and anti-egalitarianism. The project challenges the very nature of the wall and provokes the public to think about what binds us all together, no matter which side of the [non-essential] wall we live on. Due to the specificity of the address, located on the US-Mexico border, children are being taken away from their parents at the US-Mexico border when it feels like it is time to build a bridge across the border rather than further separation.

I think the work has inspired my work in some way, the power that public artworks can bring to the public and the ability to give a voice to some groups of people. Although this public artwork does not address the huge and complex issues raised by the construction of the wall, it is able to shed light on this very important issue and allow everyone to see the walls that are being built between countries and between people.

Borderwall as architecture becomes reality, 2019, UC Press Blog. Available at: https://www.ucpress.edu/ blog/45810/borderwall-as-architecture-becomes-reality/ (Accessed: November 9, 2022).

Bodies That Matter on the Beach by Aileen Moreton-Robinson

https://www.e-flux.com/journal/90/190252/bodies-that-matter-on-the-beach/

Through the bodies of white males as lifeguards, surfers and soldiers, the author explores how white appropriation functions ontologically and performatively through the white male body in Australian beach culture. The author draws on Butler's argument about performance, that culturally determined and historically contingent acts are only real in the context of internal discontinuity when they are repeated. The racial and gender norms of subjectivity are iterated in different ways through performative repetition in specific historical and cultural contexts. In this sense, the ethno-racial and sexual subject is both as and what has been accomplished. The author examines how the beach is appropriated as white property through the performative reiteration of the white male body. She then discusses how Indigenous artist Vernon Ah Kee challenges this performativity in his installation CANTCHANT.

The work is highly related with ethnicity and race, which is related to the theme of my work, and the article has inspired me more on the issue of race.

Vernon Ah Kee, cantchant, 2007 (still). Three-channel video. Courtesy of the artist and Milani Gallery, Brisbane.

Tschumi, B, Architecture and Disjunction, MIT Press, 1996, pp 138-151

In this book, Architecture and Separation Bernard Tschumi defines architecture as inseparable from space, event and movement. The text discusses at length "If space is an intermediary, is it a political tool in the hands of the state, a mould of society, or a reflection of society?" The author suggests that architecture is not only related to space and form, but also to the events that take place within it, and is highly relevant to society, whose decisions and events are reflected in the form of the building. The author also introduces the idea of the 'symbol of movement' as a complement to the traditional symbol of structure, but also speaks of movement in space, inventing a form of symbol, 'where it is recalled that architecture is also about the movement of objects in space. He believed that there could be no architecture without events, actions or activities, and that no architect could ignore the disruption or damage that people's use of a building could cause to it. The drawings can be seen as becoming both the notation of a complex architectural reality; his buildings respond to and reinforce the activities that occur within them, and the combinations of space, movement and event transform and creatively extend the structures that contain them. Yet now that the mainstream media has often turned architecture into a passive object of contemplation instead of the place that confronts spaces and actions, people are no longer willing to interact with challenging, or simply different spaces, in contradiction to the author's ideas.

I found it a thought-provoking book that introduces elements of architectural reflection, criticises contemporary concepts and demonstrates the power of architecture. The author's emphasis on a critical attitude, observing, analysing and explaining some of the most controversial positions in past and present architectural ideologies, led me to look critically at the problem, architecture.

Bernard Tschumi - the Manhattan transcripts: Bernard Tschumi, Bernard, Diagram (2013) Pinterest. Available at: https://www.pinterest.co.uk/pin/311100286730501881/ (Accessed: November 9, 2022).

I used ruler as main material in these photos. The location was chosen in a public park on campus. I walked around the site and used a ruler to measure what I could see. The act of "measuring" and the numerical results obtained respond to the site, which is one of the ways of depicting and mapping the site. Such interventions are ephemeral and are documented using photographs. The material of the ruler is rational, everything has a measure, and the use of the ruler allows for the measurement of all materials in nature, including animals and plants. This feature is used to make the viewer aware, through participation, of the relationship between the self and the environment, and the scale of the world.

The material is also sensual, through the bark of trees and the traces of stones the ruler can measure 'time', time plays the role of a measure in the work, and in the measured length of time, repetition and difference alternate between lives in a constant cycle.

In this work, white fabric is used as the main material to cover everyday objects in a junkyard and the surrounding garden. The original appearance of the objects covered in white fabric is concealed, making it difficult to see what the objects are. Whereas in life people judge the essence of an object by its outer packaging, now that the external features of the object are hidden, the appearance can no longer be used as a familiar criterion of judgement, and by being placed in the grass, the rubbish heap contrasts sharply with the brightly coloured objects around it.

The response of the object to site is incongruous and contrasting, by covering the surface of the object placed on site it responds to the theme of the work, but Site has little impact on the work it only provides a backdrop, if the position changes the work's intervention on site does not change.

This week's lecture focused on the techniques of journal making and design process record. Using Claude's work as an example, I gained a lot of ideas for documenting the design process such as collage, hand painting, etc.

Claude draws in a variety of ways as well as testing a variety of materials during the preparation process. By mixing diagrams and collage elements using test fabric wrapped in shapes allowing the author to anticipate the topography and site in advance of the drawing, Claude provides a very useful and simple way of thinking about a place. In addition, in the case of 1969 they used pencil, charcoal and crayon to sketch the lines to get a combination of drawing and photograph, working with photographs taken on site to get a realistic feel, as if they were experienced on site, and to some extent this material has been applied to the drawings.

I think this is a good preparation before the formal start of the work, it helps me to visualise and inform the predicted outcome, which I also apply to my process. The art in the public space is represented in advance in drawing which can be regarded as a form of material, behavioural and other interventions in the public space; drawing is not limited, it can be in the form of processed photographs, collages, pure hand drawings etc. They can be regarded as a form of research.

Kitchen Papaer

I tear it--incompact, flimsy, contort I balled it--rough, coarse, vestigial

Limitation: Length limit, soluble in water, unstable

Rice Paper

I soak it--supple, flexible, remadeable,resilient I dry it--tough, crispy, reshapable

Length limit, hard to shape

Cotton Fabric

I tear it--strong, tough, I balled it--plication, soft, trail Positives: protective, not limit in length and breadth, stable, easy to cut and shape

Body

Approch the site because it is part of the community, can be shaped to any gesture, easy to control, have varies identities Cotton fabric is soft and as a garment it is protective, providing contemporary people with physical coverings and protection of privacy. Its colour is pure white, representing purity and initial. What interests me is its cultural significance and symbolism of history. From the 11th century onwards, cotton fabric has been 'globalised' and is used as one of the symbols of globalisation. In addition, for fabrics, cotton fabric is the basis for the development of other fabrics, such as chemical fabrics and polyester fabrics, which are all based on cotton fabric and can stand for "the original, the unadulterated". The many forms of clothing are like the many different identities given to people by society and politics, and the contrast between the pure white fabric and the variety of clothing shows the inequality. The wrinkle imply the distress of instress of inequality and discrimination

The body is used as a material because the human being is part of society, part of the community, and it is connected to the domestic. Each individual is unique and possesses different characteristics that are reflected in the body, and the individual, usually in some capacity, exists and merges into the group. People can make initial impressions and judgements about each other by the colour of their skin, their gender, their dress, their age, etc. It is also the different identities of people that indirectly lead to the inequalities that exist in society. What would be the group's reaction to me if the identity of the 'me' were hidden, or if the identity of the 'me' did not exist as a known identity within the group?

Sydney Town Hall has always been a major landmark in the city centre, with a large footfall on George St at its doorstep and a pedestrianised street in front of the QVB, and as a public space it is one of Sydney's most used meeting points. Today it is a place of work, a place of hire and a seat of local government. It is one of Sydney's iconic buildings.

QVB's commercial district and convenient access to trains and the Metro are the main reasons for the high footfall

George St has a large number of people of all professions, ages and nationalities passing through or gathering here during the week. The largest crowds are between 11:00 and 13:00.

The gathering activity that took place in townhall Town hall is a public gathering place for many people, open to all, with equal access to the space regardless of gender, race, ethnicity or socio-economic level. It has a particular political significance, many meetings have been held there, and it has been at the heart of social movements and political protest, as well as being a symbolic place associated with wider democratic values, and as a place for artistic creation, townhall provides a venue for soft protest.

More to discovered:

What kind of difficulties does people faced when they faced discrimination? What kind of discrimination might people face in social life? What caused the discrimination? How to display with material? Concept sketch

Concept Model

Research about the social discrimination focused on black people in America

Following the death of Eric Garner, who choked to death during a police chokehold in New York City, "I can't breathe" - and the shooting of Michael Brown in Ferguson, Missouri. Tens of thousands of people have been protesting in the streets for weeks, but the killings of black adults and children continue unabated. The BLM movement culminated in the murder of George Floyd in Minneapolis, Minnesota in May 2020. The BLM movement triggers were all about the murder of black people, but the anger that erupted in the ongoing protests stemmed from a deeper, whole-body wounding.

Figures show that when BLM was on the rise, over a million black people were in prison, incarcerated at more than five times the rate of whites. During the COVID-19 pandemic, the mortality rate among blacks was almost three times that of whites, exposing a clear difference between health and other conditions. Decades of austerity politics have exacerbated the already huge gap between rich and poor: a typical white family now has a net worth nearly ten times that of a black family.

The social unrest caused by the lack of fair treatment of black people in the United States included, but was not limited to, the following factors. It was the legacy of a historical perception that the Constitution and laws did not grant blacks personal freedom after independence, and that blacks were only legally free after 1863, but the situation of blacks at the bottom of the social ladder remained. It was the implementation and public acceptance by the state governments that led to whites, as the ruling class, always being above blacks in terms of voting rights, public meals, relief, public facilities and public education. The black underclass is more prone to crime and popular ideology leads to miscarriages of justice. Educational backwardness makes them less likely to make the class leap through education, and the criminal violence they have been exposed to since childhood, as well as their own economic hardship, makes them more likely to be in trouble with the law. As a result blacks have a higher crime rate than whites and heavier sentences are handed out to blacks for crimes. This, in turn, reinforces the subconscious association of blacks with crimes such as violence, robbery and rape.

Morris, A. (2021) From civil rights to black lives matter, Scientific American. Scientific American. Available at: https://www. scientificamerican.com/article/from-civil-rights-to-black-livesmatter1/ (Accessed: November 10, 2022).

A survey created by myself focued on social discrimination and its distress.

Questions and Results are in the document：https://docs.google.com/document/d/13Iz2OauS4BxVTp5cYLC_harDiBVDcm5HNGoAhM2ZASw/edit?usp=sharing

The survey was conducted on social discrimination among people in Australia. The survey started on November 7th and lasted for 4 days. 128 valid questionnaires were collected from different countries, races and ages. The majority of the respondents were from NSW (as the questionnaire was mainly distributed in Sydney). Data shows that more than 70 percent of them had directly or indirectly experienced social discrimination.

All of the people who have experienced discrimination have suffered varying degrees of damage, both physical and psychological. About 90 percent of people feeling fearful or nervous when thinking about going out or seeing strangers in streets after suffered from discrimination. Also, they were fearful or nervous when going by the location where abuse happened. Discrimination has caused them to distrust society and the city, making them feeling unsafe. In addition, many people feel anxious, agitated, self double and faced the situation of trouble sleeping or nightmares, lack of concentration, negative thought. In more serious cases, there have been Panic attacks, Flashback mental conditions and even thoughts of Suicide or self-harm.

Many people were physically injured and assaulted during the process of Discrimination, and the experience of Discrimination has seriously affected the physical and mental health of those who experienced it, and even affected their live.

Many people would like to report to the Australian Human Rights Commission. However, there are still many people who are reluctant to report to the Australian Human Rights Commission because they do not know how to do so and the process is too complicated. Thus, the Australian Human Rights Commission needs to do more in terms of advocacy and accessibility.

Follow-up interview focused on social discirmination

International Student, 22, Chinese, Male, Regional discrimination

"I arrived in Sydney in 2018 and I clearly remember my first serious encounter with discrimination in 2019, which was the year of COV19 started. Since COV19 is thought to have spread from China, and I am Chinese. At that time as a high school student I was discriminated against in homestay, they did not provide me with fresh food and tried to kick me out when the COV19 started in Sydney, verbally abused me, did not allow me to stay in the house and asked me to wear a mask when I moved around the house. The unfair treatment I received from my homestay family made it impossible for me to concentrate on my studies. At that time I often felt scared walking down the street because I looked different with my mask on, my identity, my dressed up made me one of the reasons to encounter discrimination. Although I understand that it is a minority occurrence, I had wondered for a while if Sydney as a city was tolerant and its citizens were friendly."

"I thought about reporting their behaviour but I didn't know how to do it and the matter was left unresolved"

Graphic Designer, Permanent Resident, 32, Vietnam, Employment discrimination, Gender discrimination

"I was employed by an advertising agency and I applied for a promotion to a vacant account manager position, but I was pregnant at the time and I mentioned my pregnancy to my manager and planned to take parental leave. My manager told me that I was perfect for the job but that I would not be promoted due to my pregnancy and parental leave. This made me feel that it was unfair that I was denied the position because of my pregnancy. Unfortunately I was not able to keep the baby and lost the promotion. So far I think this is employment discrimination and gender discrimination. and I have thought about reporting them to Fair Work but it would mean a lot of red tape, I don't have the time and energy and it would mean I could lose my job."

This study has its limitations. The lack of a large sample (questionnaire respondents) in the questionnaire process may have led to inaccurate results. In addition, the study may have been biased due to cultural factors. Cultural and social contexts are different and the results of this study are regional. Nevertheless, this study reflects the diversity of social discrimination and the irreversible physical and psychological harm they cause and the challenges they pose to people.

To sum up, discrimination is the act of making unjustified distinctions between people on the basis of the group, class or other category to which they belong or are perceived to belong. People may be discriminated against on the basis of race, gender, age, religion, disability or sexual orientation, as well as other categories. At the heart of all forms of discrimination is prejudice based on the concept of identity and the need to identify with a particular group. This can lead to division, hatred and even dehumanisation of others because they have different identities. Discrimination occurs particularly when individuals or groups are treated unfairly in ways that are worse than the treatment of others, based on their actual or perceived membership of certain groups or social categories... It involves limiting the access of members of one group to opportunities or privileges available to members of another group. Social discrimination is not only a form of physical torture, but also a form of mental torture for those in places where discrimination is ignored.

As a result of prejudices held by people, social discrimination.might render people powerless, prevent them from becoming active citizens, limit their development of skills and in many cases restrict their access to jobs, health services, education or accommodation, leaving parts of the group marginalised, disempowered and lacking social cohesion. Interviews with people who have experienced social discrimination in the course of the survey reveal their attitudes towards social discrimination and the harm they have suffered. Social discrimination puts the city at risk of losing credibility and cohesion and can lead to an increase in crime, which can be extremely harmful to individuals and society.

Concept Model

Model Experiment

I used the fabric to create a hood that would only fit me - the cotton was tucked between the two fabrics, which suited my concept of using the material and allowed the hood to stand up so that no one could see the shape of my features clearly. The small hole in the middle of the hood allows me to see the road and the view of others but not my expression. This is a one-way communication of sight.

Expectation

To walk around the townhall as a normal person, the audience was attracted to my costume and watched me. Presented as a video, I wanted the viewer to experience the weight of identity symbols and to consider the prejudices and difficulties faced by various 'identities' in society.

Introspection

Although I wore a distinctive white head covering and black clothing as a contrast, this did not make me stand out from the crowd. Also, I think that the hair, the brand of the clothes, etc. are elements of personal identity and exposing them does not satisfy the initial idea of my work.

Concept sketch Concept Model

The part of the performer's body that represents 'identity' is covered in pure white cotton, a symbol of purity, and they are redefined as 'anonymous' people. Each person's unique 'identity marker' is challenged, defying the standards of 'profiling', and the wrinkled appearance of the work gives a sense of systematic identity marginalisation and violence against the group, while allowing the audience to consider the distress faced by people who surfered from discrimination

Final Model The shopping bag represents "Anonymous" as one of the general public, an ordinary person living in the city, but discrimination happens to ordinary people in the city, and the author wants the viewer to experience the weight of identity symbols and to think about the prejudices and difficulties faced by various "identities" in society.

The detail of the wrinkle

The work is set in townhall, a high-traffic public meeting place where all people have equal access to the space, which has been a centre of social movement and political protest, and a symbolic place associated with broader democratic values, with the town hall providing a venue for soft protest. The author mapping the movement through site.

The author's obvious intervention on the site through the use of fabric wrapped around the body is a search for truth from multiple perspectives in the context of urban conflict. The author's video work is a dialogue with the public, showing two different perspectives, recording the body language of bystanders on the road from the train station to the townhall and reflecting their psychological activities towards Anonymous.

"Standing at the entrance of the townhall, the static movement of Anonymous and the pure white, out-of-place costume of Anonymous create a strong visual contrast with the surrounding pedestrians. Through this work, the artist hopes to make the viewer experience the weight of identity symbols and consider the prejudices and difficulties faced by various 'identities' in society.

https://youtu.be/2QB4pRFQaMU

This work explored the relationship between “anonymous” and others through a "performance" involving body movement and pure white cotton. The parts of the performers representing "identity" were covered with pure white cotton, symbolizing purity, they were redefined as "anonymous" people. Each person's distinctive "identification symbol" is challenged, disregarding the standard of "judging a book by its cover", contrasting the vibrant outfits worn by metropolitan dwellers. The work's wrinkled appearance gave a sense of systematic marginalization of identity and violence against groups. Although everyone was born equal, social and political influences give individuals different identities, which causes inequality among various social groupings. The piece seeks the truth from various angles in a setting of urban conflict, where onlookers' body language reflects their psychological activity towards "anonymous", allowing the viewer to experience the weight of identity symbols and to think about the prejudice and difficulties faced by various "identities" in society. Inspired by Dance or Exercise on the Perimeter of a Square, focused on the sensory-oriented theme, leading the author to find his existence.

"Despite being wrapped up tightly, the stares from onlookers made me feel like I was naked and receiving visual approval."

"Along the way I heard all sorts of voices, some suspicious, some screaming, some jeering and abusive language, which made me feel scared"

Bruce Nauman, Dance or Exercise on the Perimeter of a Square (Square Dance), Performance art, 1967-1968

Nauman, B. (no date) Dance or exercise on the perimeter of a square (square dance), MACBA Museum of Contemporary Art of Barcelona. Available at: https://www.macba.cat/en/art-artists/artists/nauman-bruce/ dance-or-exercise-perimeter-square-square-dance (Accessed: November 10, 2022).

The artist has marked out a square on the floor of his studio with tape, marking the midpoint of each side. Starting from the centre of the furthest side, and following the strict rhythm of a metronome, he alternates the movement of his legs with each beat, straightening them half their length and touching the corners of the square with his toes. Simple, repetitive movements in front of a static camera are intended to explore the media available to him as well as his own regarding the body, performance, and repetition of gestures.

I think this work is stunning, by showing the artist executing a series of repetitive, disciplined and structured poses merging minimalist forms with the ephemeral architecture of mechanical body postures, repeating sequences in a way that could almost be dance or could almost be mechanical, it's really amazing. The artist forces the viewer to re-evaluate what is 'natural' and small movements such as 'walking' become a feature. It led me to rethink and explore the possibilities of using the body as the main material for the work, to rethink my movements, the messages that my body can send.

Gladstone, Unknown Pleasures, Dance, 2016

The artist explores the joys of the unknown through dance, asking the question: would we enjoy art more if it were anonymous? Artists have challenged the publicity of general theatre, arguing that knowing the creator's work in advance can be counterproductive, as audiences are drawn in by trailers or titles and buy into the fame of the performer or choreographer who is famous. By keeping the work secret from the audience until it is staged, this practice helps them to abandon these dance archetypes and allows them to base their aesthetic judgement on other aspects of the dance and to enjoy it to the maximum. In addition, the dancers do not need to give any verbal explanations, their body language conveys the whole message

I think the work inspired me a bit about "Anonymous", where the artists in the theatre made the performers anonymous so that the audience could focus on the work rather than just guessing who might succeed. Such an approach leads the audience to look more critically at what is in front of them. In my work I hide the 'identity' of the person, becoming "anonymous" and leading the viewer to look critically at the concept of 'identity'.

Winship, L. (2016) Unknown pleasures: Do we enjoy art more if it's anonymous?, The Guardian. Guardian News and Media. Available at: https://www.theguardian.com/stage/2016/oct/03/unknown-pleasures-art-anonymousdance-umbrella-royal-court (Accessed: November 10, 2022).

The artist's work on the theme of elasticity uses exaggerated lycra garments as clothing to create tension, shape and scale. The works have all been carefully choreographed, with the human body forming patterns, interconnecting or becoming an extension of existing buildings. The works have all been carefully choreographed, with the human body forming patterns, interconnecting or becoming an extension of existing buildings. Moves as people change position, gravity, elasticity and deep breathing are used to initiate movement. At the same time, their position is elastic and materiality is used as a medium of movement.

Bülow also performed in a former military building on the skiing outskirts of Oslo, where the dancers moved in a slow, budding manner to positions where the tension and elasticity of the lycra could be inferred. Precise slow movements create a paradoxical sense of stiffness and elasticity, with the body locked within its own frame. The resulting effect is an elastic sculpture that lies somewhere between performance and still life.

I think the work is very striking in that it exploits the specificity of the material and investigates the tension and elasticity of matter through the slow postures of the dancers, provoking a paradoxical sense of rigidity and flexibility. It is made of a similar material to the one used in the work, which is a fabric, and the author has made good use of the material's malleability to create his work, providing me with ideas for using the nature of the material in my work

Visited on November 3rd,2022

Reena Saini Kallat, Woven Chronicle, 2018

Tracing migratory movements around the world, across sovereign nations and political borders, the work shows the routes taken by people throughout history, including indentured labourers, settlers, contract workers, asylum seekers and refugees, as well as professionals travelling for work. The trajectory of their walk is constantly moving and crossing, and the threads used in the work allow for the visualisation of ideas and energy as they symbolise connections. In addition the inclusion of wire and fencing materials helps to examine the inequalities in the world and the barriers to freedom, but they are also symbols of connectivity.

The work embodies the communication and barriers and inequalities in the world, the meaning of the work is similar to my work, Kallat visualises the trajectory through the silk threads, leading me to record the perception of my work from multiple angles through video, visualising the inner workings of the people around me by recording their eyes, Kallat's map of the world is positioned as "South on " to change the psychological perspective expressed in the map, with the North often dominating, forcing the viewer to see the world in a different way.

Ken Unsworth, Suspended stone circle II. 1974-1977, 1988

The work continues the designer's previous theme of suspension by using 103 river stones of 15 kg each, fixed to the ceiling structure using 3 metal wires, the stones form a suspended disc, each as if in a stand, the stones are suspended so that their centre of gravity falls exactly on the central axis of the disc and each stone is at an equal distance from its neighbour, reflecting a relationship of balance and form . The work is full of apparent contradictions, through the contrast between the large stones and the thin wire, the heavy stones and the suspended state. In addition, the projections of stones and metal wires are layered to create a certain interactivity

His work has inspired my work to a certain extent, and in my work too. The strong contrasts of colour and the prominence of the folds highlight my performance and draw attention to it. In addition, the performer can clearly see people's gaze through her mask, but passersby cannot see the performer's gaze. This one-way communication creates a blurred sense of distance and enhances the authenticity of the pedestrian's reflection

Ken Unsworth, Suspended stone circle II. 19741977, 1988

The work transforms the gallery into a chaotic environment. Such experimentation has the effect of focusing attention on the space itself and the behaviour of the viewer as they experience the art. As a viewer I think this is a very interesting way of experiencing interactive art, it provides a way of involving the viewer in the work and the viewer's emotions and feelings are incorporated as part of the work. When you enter the space you find that the rooms, corridors and halls are filled with balloons, allowing the viewer to feel a mixture of emotions, including excitement and disorientation. Different people will have different perceptions of this work, some will be happy to see balloons that evoke deep celebrations and memories of childhood. For me, I felt fear when entering the space as I was basically covered in balloons as far as I could see, giving me a sense of suffocation and a fear of whether the balloons would explode, which made me feel uneasy.

In shorts, I think it's a very interactive piece, everyone is very involved in the design of the piece and different feelings bring different things to the piece.

Visited on November 7th,2022

Do Ho Suh's work is characterised by an exploration of notions of family and identity, incorporating his diasporic experiences as well as different cultures and histories in works that place the home at the centre of a shared experience for both author and viewer through the use of oneto-one replication of the scale of the home space and studio. He designs fabric architecture works in one-to-one spaces that require the viewer to experience them personally.

Staircase-III(2010) is an interactive polyester fabric work where the viewer is encouraged to move between forms and view them from multiple perspectives. Staircase-III connects two worlds, linking and separating the physical space and the lives and memories within. In the Specimens series work, the designer has stitched one-to-one objects from a New York flat in pale blue polyester fabric. The inner workings and external appearance of each of these objects are visible. The translucent shapes suggest a memory of the home and its appliances rather than the real, solid things they are based on. The notion of home and the passage of time is explored. Through a thousand tiny figure sculptures supporting a flat glass floor in Floor (1997-2000) and Who Am We (Multicoloured) (2000), this work explores individual and group identity. The viewer can see the unnamed labourers supporting their weight as they walk across the glass. however, the glass also becomes the ceiling when viewed from the perspective of the tiny figures beneath, embodying the fusion of the microcosm and the macrocosm. Do Ho Suh, Floor (1997-2000) and Who Am We (Multicoloured), 2000

Do Ho Suh, Staircase-III, 2010

Do Ho Suh, Specimens series

Do Ho Suh, Floor (1997-2000) and Who Am We (Multicoloured), 2000 Do Ho Suh, Specimens series Do Ho Suh, Staircase-III, 2010

I particularly like the author's silk works, where the light and transparent materials take the ordinary objects away from their original intent and make them delicate, sensitive and fragile, just like my memories of home, strange and familiar. I can feel a touch of warmth and empathy in his work as a student in a foreign country.