DISCUSS CONTEMPORARY ART Arte e Design — ESEC — Estudos de Arte 2009/10 — Docente Kátia Sá
Installation Art The final decade of the 20th century saw the passage of installation art from a relatively marginal art practice to the establishment of its current central role in contemporary art. A form of art is not defined in terms of any traditional medium but terms of the message it conveys by whatever means. ‘ the medium is no longer identifiable as such, and the confusion of the medium and the message (McLuan) is the first great formula of this era.’ Jean Baudrillard The relationship between a work and its location, its ‘site-specificity’. JohanneLamoureux Artist and viewer together in a discursive environment. Subjective experience.
Tomoko Takahashi Line Out 1999 labyrinthine site-specific installations Referring to an unprejudiced exploration of selection and classification, a cheerful celebration of human organizing tendencies, Takahashi focuses on the retrieval and redeployment of materials in order to integrate the detritus of consumer society into an artistic practice. She creates chaotic tableaux of redundant equipment witch can be interpreted as fantasies of neurotic urban landscapes.
Barbara Kruger Power Pleasure Desire Disgust, 1997 “exploring the dynamics of power, identity, sexuality and representation" Mary Boone Gallery, 1991
Juan Munõz Double Bind, 2001 Tate Modern, London Labyrinthine architecture of several levels and chambers and introduced tromp l’oeil effects which encouraged multiple perspectives. The Turbine Hall, a cavernous and dramatic space combined with the monumental scale of the work to curtail intimacy and to remove the possibility of a single perspective for the static viewer. “propose new forms of contemplation and thought, to create tension between the illusory and the real"
BlastTheory (collective) Kidnap, 1998 Format of Reality- TV In 1998 Blast Theory launched a lottery in which the winners had the chance to be kidnapped. Ten finalists around England and Wales were chosen at random and put under surveillance. Two winners were then snatched in broad daylight and taken to a secret location where they were held for 48 hours. The whole process was broadcast live onto the internet. Online visitors were able to control the video camera inside the safehouse and communicate live with the kidnappers. Moved away from the constrictions of traditional performative spaces by engaging with the possibilities offered by technologies. ‘telematic media’ Impact on our experience of space and time
SarahSze Everything that Rises Must Converge, 1999 Uses the detritus of everyday life, brought together into organic-like structures which expand vertically and fill the entire exhibition space. … adptable to large-scale sites, merging space and material
SpencerTunick Maine, 1997 The mobility of an idea from one place to another The recurring motif is that of hundreds of bodies lying prone at selected locations… Temporary events documented in photographs and video As bodies are replaced by new ones, the body itself is transformed into a mere component of the artwork. These grouped masses which do not underscore sexuality become abstractions that challenge or reconfigure one's views of nudity and privacy. The work also refers to the complex issue of presenting art in permanent or temporary public spaces.
ChristoandJeanne-Cleaude Wrapped Reichstag, Berlin, 1971-95 Permission was refused three times, in 1977, 1981 and 1987. Grant permission on 1994. Large-scale site installations Projects site –specific and time-based
AnishKapoor Tarantara, 1999 Work installed at the Baltic Centre for Contemporary Art “ I’ve always believed that the philosophical context is twofold: first is how the work lives in the place, and second is the address to the viewer, always.”
Tara Donovan Haze, 2005 Ordinary, industrially replicated materials to make art Poetic installations made from commonplace, mass-produced objects… “It’s very improvisational. I work with assistants and set the process in motion, give them rules to work within, and then let them make a lot of decisions. Once it starts rolling, it’s like putting together a puzzle that has no rules. There’s no way to map out something like that. There’s no drawing. The material dictates the form.
Do-HoSuh Floor, 1997-2000 Private and public notions of space Drama and emotion
Ernesto Neto Walking in Venus blue cave, 2001 Worlds between the body and architecture. His work articulates the spaces of buildings while simulating membranes. Works are highly sensual, an experience heightened by the aroma of turmeric or cloves, which strikes visitors long before they see the installations.
BruceNauman Anthro-Socio, 1992 On three projection surfaces and six monitors, one sees the head of a man shown in different takes. While continually revolving about his own axis, in a variety of tonalities he sings «FEED ME/ EAT ME/ ANTHROPOLOGY,» «HELP ME/ HURT ME/ SOCIOLOGY,» and «FEED ME, HELP ME, EAT ME, HURT ME». The repetition of the alarming singsong, and multiple video shots of the singer, also create a disturbing moment sensual experience the installation also encourages viewers to give thought to the inherent qualities of subjects and objects, and to human beings in society.
TonyOursler Influence Machine, October 19 - 31, 2000 Madison Square Park. Captured voices and images of ghosts, both contemporary and historical, creating a séance experience that recalled 19th-century sound and light projections. Oursler experimented with video, smoke machines, a variety of soundtracks, and several sculptural elements to explore the historical and current impact technologies have on our daily lives. The Influence Machine was comprised of projections of large faces onto smoke and trees with corresponding narratives--poetic texts written by Oursler for this project and other voices from the history of early technology.
Rudolf Stingel Whitney Museum, New York, 2007 A strong penchant for provocative, unpredictable ways of painting. When the show opened, the foil board covering the lower half of the walls was untouched; the upper half was a riot of graffiti, bas-relief carvings, patterns and drawings created during the show’s first stop, at the Museum of Contemporary Art in Chicago. The room’s lower half is now equally dense with a kind of populist, manic, talking-in-tongues wallpaper.
CharDavis Osmose, 1998 Osmose is a space for exploring the perceptual interplay between self and world, i.e., a place for facilitating awareness of one's own self as consciousness embodied in enveloping space. immersive interactive virtual-reality environment installation with 3D computer graphics and interactive 3D sound, a head-mounted display and real-time motion tracking based on breathing and balance.
Richard Serra A MatterofTime, 2005 The eight pieces swirl and glide together, creating spaces while imposing upon the space they are in. Imposing as they may be, the sculptures invite the viewer to become participant: to explore around them, to find the spaces within, to play with sound, to stop and start at any point, to move at any speed.
JeffreyShaw TheLegibleCity, 1988-91 Advances in computer technology and the spread of personal computers have made new tools available to artists. Technological means have made it possible to re-implement ideas of the sixties and seventies, enabling the viewer to take part in works of art.
Peter Vogel Duo, 2006 Peter Vogel is a pioneer in the field of interactive electronic sculpture. He was formally trained in physics, and has explored technology's intersection with dance, musical composition, and visual art since the late 1960s. Vogel's interest lies in both interactive and musical structures. The interactive sensitivity of his constructions utilizes photocells and microphones that react to spectators, creating an experience of seeing and hearing unique improvisations triggered by light and shadow.
KenRinaldo Autopoiesis,2000 A robotic sculpture installation fifteen robotic sound sculptures that interact with the public and modify their behaviors over time. These behaviors change based on feedback from infrared sensors, the presence of the participant/viewers in the exhibition and the communication between each separate sculpture. This group consciousness of sculptural robots manifests a cybernetic ballet of experience, with the computer/machine and viewer/participant involved in a grand dance of one sensing and responding to the other.
Bibliografia: MCLUHAN, Marshall, Understanding Media: the extensions of man, New York: The New American Library, Col. A Mentor Book, 1964. OLIVEIRA,Nicolas d;OXLEY,Nicola;PETRY,Michael, Instalation Art, Thames & Hudson, 2003. WILSON, Stephen, Informational Arts – intersections of art, science, andtecnhology, The MIT Press, 2002.