Grasslands (eng)

Endeavouring to live in the world together
– How a contemporary and participatory art project
like Grasslands can revitalise the legacy of the artistic
ideals of the 20 th century avant-garde
that, here in the medieval castle Østergård in Åsted, people from nine countries
(including an EU Commissioner) were gathered to discuss rural development.
The workshops we participated in gave us so much new understanding – we were
totally high!
The Trampled path
The Trampled Path is another good example. Students from Krabbesholm Højskole
came here and trampled back and forth for 24 hours (interrupted only by
a torrential downpour). The students thought it was marvellous to walk from
sunset in the beautiful landscape, all night with burning torches in the summer
twilight, to a very dazzling sunrise.
Some very special outsiders
It is important for us to point out that the fact that two outsiders have come here
and facilitated these things in the form of money, good connections to various
authorities and a broader perspective on things has been crucial to the developments.
We would never have supported ‘one of our own’ who had dared to stand
up and say »here’s what we’re going to do«. But when strangers come tramping
on to the scene, in just the same particular and very fine way Birgitte and Lene
did, then something takes place, then we’ll support it and things can begin to happen!
At the same time it is important to emphasise that it’s not only us who have
learned something from this process: just ask Lene and Birgitte if they haven’t
learned a thing or two along the way too. Lene, Birgitte and Leo are unbelievably
nice and helpful. AND they’ve learnt a lot about talking to and with us and not
being too abstract. They have the visions that enrich us and we have the labour
that they need – ergo: we both need each other and are enriched by each other.
Trine Rytter Andersen
Art critic and artist
Since the 1990’s an increasing number of Danish artists have become involved
with communities that work actively and inter-disciplinarily with identity, history
and social structures.
Playgrounds, community allotments, urban parks, fixing rooms, dinners,
blind dates and democracy workshops have been established or arranged, among
other things. Typical for all these projects is that that they intercede in daily life
and try to strengthen communities while simultaneously attempting to mobilise
and qualify citizens’ initiative, agency and self-determination. Another common
trait is that they support the proposition that art, as edification and contextualisation,
can motivate those it mobilises to engage in binding democratic processes
that benefit both the community and the individual.
The development of the avant-garde in the 20 th century
The idea that art should play a role in society and contribute to citizen’s awareness
and commitment is not new. Ever since the inception of the historical Avantgarde,
around 1910, the question of how to free the individual from the oppressive
structures of society has been to the fore. Avant-garde artists employed
different strategies from each other, but shared the same goal. They wanted to
develop a coherent political, existential and social life practice. They also wanted
to challenge convention and habit to awaken the individuals’ aesthetic and social
understanding, so that he or she would be better equipped to protest and empower
themselves.
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