Cristina Ricci
I hold a BA in History of Art and an MA in Contemporary Art Theory from Goldsmiths, University of London.
In 2018, I created the Instagram account @criview where I regularly post about current exhibitions in London and abroad in order to encourage audiences to visit museums, galleries, and other arts organisations as well as sparking curiosity in those who are not familiar with the art world.
In 2020, I co-founded the research group Contakt Collective within the Visual Cultures Department at Goldsmiths, University of London exploring manifestations of contact and social space in a time of human capital and social distance.
Supervisors: Dr Louis Moreno and Dr Bridget Crone
In 2018, I created the Instagram account @criview where I regularly post about current exhibitions in London and abroad in order to encourage audiences to visit museums, galleries, and other arts organisations as well as sparking curiosity in those who are not familiar with the art world.
In 2020, I co-founded the research group Contakt Collective within the Visual Cultures Department at Goldsmiths, University of London exploring manifestations of contact and social space in a time of human capital and social distance.
Supervisors: Dr Louis Moreno and Dr Bridget Crone
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Papers by Cristina Ricci
We want to take away the fear from speculation and replace it with playfulness and excitement.
We will be hosting a day that includes hypothetical scenarios and events, each relating in some way to our individual research files, or to broader themes within the course. We will then ask our community to supply the necessary tools that we need in order to carry out the project we have conceptualised. We will outline our needs, (physical items, materials, skills and ideas) in the invitation and we, as organisers, will not know what is being contributed until the event starts. Chance, spontaneity, improvisation and compromise will lie at the core of this project.
How does a platform operate when a plan is purely conceptual? How does one organise and effectively carry out an event on a limited or non-existent budget? How do we expect the event to function if there is no guarantee that we will have the wherewithal to actually make it happen?
I analysed various ways in which Instagram has changed visitors' approach to art in museums and galleries, and how these institutions adapted to this platform accordingly.
My research will analyse the role played by the audience towards site-specific art, one of public art’s layers, particularly with respect to its participatory aspect. Case studies such as Richard Serra’s Tilted Arc, Chicago exhibition project “Culture in Action” and the ongoing North West Cambridge commission will provide examples of audiences’ different receptions of the relation between outdoor sculptures and the urban environment, the transformation of the audience into as producer of the exhibition itself, and a reshaping of the idea of public art. Two contemporary artworks part of the Fourth Plinth Project will offer a portrait of the UK in 2009 by correlating individual performances with the specific site, and how the public’s intervention preserved the work’s accessibility via relocation, respectively Antony Gormley’s One & Other and Yinka Shonibare’s Nelson’s Ship in a Bottle.
We want to take away the fear from speculation and replace it with playfulness and excitement.
We will be hosting a day that includes hypothetical scenarios and events, each relating in some way to our individual research files, or to broader themes within the course. We will then ask our community to supply the necessary tools that we need in order to carry out the project we have conceptualised. We will outline our needs, (physical items, materials, skills and ideas) in the invitation and we, as organisers, will not know what is being contributed until the event starts. Chance, spontaneity, improvisation and compromise will lie at the core of this project.
How does a platform operate when a plan is purely conceptual? How does one organise and effectively carry out an event on a limited or non-existent budget? How do we expect the event to function if there is no guarantee that we will have the wherewithal to actually make it happen?
I analysed various ways in which Instagram has changed visitors' approach to art in museums and galleries, and how these institutions adapted to this platform accordingly.
My research will analyse the role played by the audience towards site-specific art, one of public art’s layers, particularly with respect to its participatory aspect. Case studies such as Richard Serra’s Tilted Arc, Chicago exhibition project “Culture in Action” and the ongoing North West Cambridge commission will provide examples of audiences’ different receptions of the relation between outdoor sculptures and the urban environment, the transformation of the audience into as producer of the exhibition itself, and a reshaping of the idea of public art. Two contemporary artworks part of the Fourth Plinth Project will offer a portrait of the UK in 2009 by correlating individual performances with the specific site, and how the public’s intervention preserved the work’s accessibility via relocation, respectively Antony Gormley’s One & Other and Yinka Shonibare’s Nelson’s Ship in a Bottle.