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A NEW SPACE FOR LAND ART - GOLF COURSE
Abstract
Land-art, as an art movement that started in the USA in the 1960s is also known as Earth art or environmental art. Is Land-art installation on golf courses more than just decoration of space? Is these Land-art returning to the ethos of protest? These questions are connected with purpose of this case study: A demonstration of how Land-art can be adapted for non-traditional spaces, such as golf courses. The methodological and practical issues surrounding the creation of new spaces for land art are demonstrated in the following four dimensions: The geographical-environmental dimension works with the morphology of the landscape; the social dimension works with the perception of land art and golf courses; the cultural dimension works with the symbolic forms of the installations and the possibility of sharing their interpretation; and the economic dimension works with land art as part of the cultural economy, increasing visitor numbers and the PR of the golf course. This approach can be compared to the four pillars of sustainability: environmental, social, economic, and cultural. Our case study describes the creation process of land art at the Svachovka resort, located near CeskГЅ Krumlov in the South Bohemian region, close to the Vltava River. The former farmstead courtyard has been transformed into a golf and wellness area. The golf course itself was constructed in two phases between 2004 and 2008, close to the village of Svachova Lhotka. The new development of the landscape in which the golf course is located will be open to Land-art in carefully defined safety areas. We are still at the beginning of this process, but the first permanent land art installations are already in place. Several land artists have been involved, using materials that complement the traditional stones, wood and soil, such as glass tables. Glass tables have been set up amongst the trees to resemble a herd of cows. In the future, visitors will also be able to create their own land art using natural elements such as stones, wood, and water. The spirit of protest that characterised the beginnings of land art need not be weakened in the context of a golf course. Rather, it is transformed into the democratisation of this space for nature, art and people. Land-art is not primarily intended for members of golf clubs, so we are witnessing the democratisation of the golf course. The landscape becomes an active medium.
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