[note] A Few Things You Need to KnowWhen Creating an Art Project ina Public Space in Lebanon - T.A.P

Updated: Dec 15, 2018

At the Ashkal Alwan in 2015, Beirut-based curatorial platform TEMPORARY.ART.PLATFORM (T.A.P) took place of the closed working session includes legal expert, which evaluate the research what artist and persons involved should know when producing an art project (either performative, informative or physically constructive) in a public pace limited in Lebanon, and manifested their knowledge in a form of advocating and practical tool guide including some case studies; it is available from web site of T.A.P. https://www.temporaryartplatform.com/legal-research

Statement on the project, T.A.P.

Taking legal frameworks as a main theme for 2015, T.A.P. sees lobbying for contemporary arts practices in the public domain as a key first step towards achieving its public interventions and the percent for art objectives.

Starting from the reoccurring obstacles many artists face trying to obtain authorization from municipalities and other local authorities, T.A.P. intends to emphasize the complex nature of the legalities of producing public art projects, in Lebanon. Without an adviser, artists are pulled into convoluted bureaucratic procedures that are neither straightforward nor happen in due time. How can the process become more accessible to artists? How can more successful interventions take place?

In collaboration with lawyer, Nayla Geagea, discussions were organized with main stake holders that could potentially become instigators and/or already regulate the public sphere. Conducted interviews and a closed working session, culminated in a public round table bringing the questions to a larger audience while sharing the results of our findings.

  1. T.A.P. published a downloadable online guide, illustrating key issues and necessary approaches to contemporary arts practices in the public domain. The goal is to forge partnerships in the future and provide technical support for the arts community to produce public art projects.

  2. Our main concern is to answer a series of questions to come up with legal and administrative solutions through discussion:

  3. What is the legal framework through which contemporary art practices operate within the public sphere?

  4. What art projects concerned with the public sphere did/did not fail in the past and why?

  5. How do local persons, materials, legislations and relations shape the artwork and do said components impede in the artist’s vision? How can they be more facilitating?

  6. What sort of know-how and methodologies can be modified and/or kept to encourage collaboration?

  7. How can public space become more socially and aesthetically engaging, and what can the municipality do in that respect?

  8. Can a straightforward legal process be created that clearly illustrates the steps needed to execute a public art commission?


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