{"id":93,"name":"","email":"","language_id":1,"permalink":"vito-acconci","deleted":false,"legal_status_id":47,"url_1":"http://www.acconci.com/","twitter":null,"category_id":47,"date_of_birth":"1940-01-01T00:00:00.000+00:00","place_of_birth":"","country_of_birth":"","place_of_residence":"","country_of_residence":"","cached_privileges_list":"User","cached_tag_list":"performance installation design architecture","publishing_process_id":1,"can_log_in":false,"firstname":"Vito","lastname":"Acconci","annotation":"","url_2":"","url_3":"","cached_name":"Vito Acconci","date_of_death":null,"cached_name_asc":"Acconci, Vito","stream_count_app":33,"gender":"male","platform_admin":null,"description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/092/large/VitoAcconci1973.jpg?1351155663","poster_credits":"(c)CC-BY-SA-3.0; GNU Free Documentation License","media_count":1,"items_count":3,"translations":[{"locale":"en","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eVito Acconci \u003c/strong\u003e(\u0026deg;1940) lives and works in Brooklyn, New York. He is a poet and started at the beginning of the 1960s making art works using a self-analytic approach. His own body is the subject in works of varying nature: photography, film and performance. In the mid-sixties he creates audiovisual installations that change exhibition spaces into communal meeting places. Here Acconci is not examining himself, but rather the relationships between people and the borders between public and private spaces. The fact that visitors to museums generally aren\u0026#39;t allowed to touch anything - while that is precisely the place where one is temptingly invited (by the works) to do so - leads him to make machines (that comprise sorts of shelters) that may be activated by the visitor. His works from the sixties and seventies are often aggressive and confrontational and Acconci is conscious of the fact that the gallery- or museum visitor might at least be somewhat prepared for this. He realizes, too, that he can\u0026#39;t approach people in public (on the street, on a railway platform or in a shopping center) in the same way. For this reason, he starts looking for \u0026lsquo;softer\u0026rsquo; ways to bring his thought processes in motion. Towards the end of the 1980s he develops prototypes for furniture, houses and gardens. As with all his work, these models are propositions of ideas, which through Acconci\u0026rsquo;s concern for interpersonal relationships and people\u0026rsquo;s movement and conduct in private or public spaces, acquire a political dimension. Acconci now works together with a group of architects in \u003ca href=\"http://www.acconci.com/\"\u003eAcconci Studio\u0026nbsp;\u003c/a\u003ethat focuses on architecture and landscape design/spatial planning. Acconci Studio organizes and executes public projects, including the interior garden for Philadelphia Airport, a piazza for the University of Illinois in Chicago, and seating and lighting for the transit hall at San Francisco Airport.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eVito Acconci\u003c/strong\u003e (\u0026deg;1940) woont en werkt in Brooklyn, New York. Hij is dichter en begint in de jaren zestig met het maken van kunstwerken waarbij hij op een zelf-analytische manier te werk gaat. Zijn eigen lichaam is het onderwerp in werken van diverse aard: fotografie, film en performance. In het midden van de jaren zestig cre\u0026euml;ert hij audiovisuele installaties die tentoonstellingsruimtes in gemeenschappelijke ontmoetingsruimtes veranderen. Acconci onderzoekt nu niet zichzelf, maar relaties tussen mensen en de grenzen tussen publieke en priv\u0026eacute;-ruimtes. Het feit dat bezoekers in musea niks mogen aanraken, terwijl dat juist de plaats is waar men (door de werken) uitgenodigd wordt om dat te doen, brengt hem ertoe om machines (die een soort schuilplaatsen vormen) te maken die door de bezoekers geactiveerd kunnen worden. Zijn werken uit de jaren zestig en zeventig zijn vaak agressief en confronterend en Acconci is zich ervan bewust dat de galerie- of museumbezoeker daar enigszins op voorbereid is. Hij realiseert zich dat hij mensen in de publieke sfeer (op straat, op een perron of in een winkelcentrum) niet op die manier kan benaderen. Hij zoekt daarom \u0026lsquo;zachtere\u0026rsquo; manieren om denkprocessen op gang te brengen. Eind jaren tachtig ontwerpt hij prototypes voor meubels, huizen en tuinen. Zoals al zijn werk vormen deze modellen voorstellen van idee\u0026euml;n, die door Acconci\u0026rsquo;s bekommernis voor intermenselijke relaties en het zich bewegen en gedragen in priv\u0026eacute;- of publieke ruimte, een politieke dimensie verkrijgen. Acconci werkt nu samen met een groep architecten in \u003ca href=\"http://www.acconci.com/\"\u003eAcconci Studio\u003c/a\u003e\u0026nbsp;die zich focust op architectuur en landschapsinrichting/ruimtelijke ordening. Acconci Studio organiseert en realiseert publieke projecten zoals een binnentuin voor de Philadelphia luchthaven, een plein voor de University of Illinois in Chicago en zetels en belichting voor een transithal in de San Francisco luchthaven.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"locations":[{"country":"US","place":"New York","category":{"en":"Born in","nl":"Geboren in","fr":"Né à"}},{"country":"US","place":"New York","category":{"en":"Lives in","nl":"Leeft in","fr":"Vit à"}}]}