Art is an industry that appears to be preoccupied with the visible world as people visit galleries with the expectation to see something aesthetically pleasing and great. What happens therefore when a gallery presents the consumer with the non visible? Is it still deemed as art? Delia and Brainard Carey’s article The Non-Visible Worlds of Art and Performance explores this notion as they argue that ‘without the non-visible world, the visible one would suffer’ (Carey, D. and Carey, B., 2011 , 100).
One particular interesting art practice that was undertaken by Praxis is the tour guide around the Guggenheim in Manhattan which was a building which was ‘never built, but planned’ (Carey, D. and Carey, B., YEAR, 104). Essentially, this performance took the audience on a tour of the imagination as they metaphysically constructed this piece of architecture through non visible senses. For our own performance, we aim to collide the non visible and visible worlds together as we curate our objects which represent the city in the gardens whilst taking the audience on a sensory tour by recreating the high street through soundscapes. Praxis denotes that: ‘with non-visible works, the audience and the artists become very close by following the same path, taking the same risk, in which both meet at the end of the work though each has probably experienced different realities, so they also have that to share in the visible world’ (Carey and Carey, 2011, 108).
<a class=”embedly-card” href=”http://www.youtube.com/watch?v=JbV-YXa6pQY”>Mapping The Lost City</a>
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