Installation art emerged as a central practice in contemporary art in the late 20th century. It is defined not by traditional media but by the message conveyed through various means. Artists create immersive, interactive environments that often involve the viewer directly and blur boundaries between art and participant. New technologies further expand possibilities for installation works, allowing ideas from prior decades to be realized through computer and electronic components that respond to viewers in real time.

1. DISCUSS CONTEMPORARY ARTArte e Design — ESEC — Estudos de Arte 2009/10 — Docente Kátia Sá

2. Installation ArtThe 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 BaudrillardThe relationship between a work and its location, its ‘site-specificity’. JohanneLamoureuxArtist and viewer together in a discursive environment. Subjective experience.

3. Tomoko TakahashiLine Out 1999labyrinthine site-specific installationsReferring 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.

4. Barbara KrugerPower Pleasure Desire Disgust, 1997“exploring the dynamics of power, identity, sexuality and representation"Mary Boone Gallery, 1991

5. Juan MunõzDouble Bind, 2001Tate Modern, LondonLabyrinthine 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"

6. BlastTheory (collective)Kidnap, 1998Format of Reality- TVIn 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

7. SarahSzeEverything that Rises Must Converge, 1999Uses 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

8. SpencerTunickMaine, 1997The mobility of an idea from one place to anotherThe recurring motif is that of hundreds of bodies lying prone at selected locations…Temporary events documented in photographs and videoAs 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.

9. ChristoandJeanne-CleaudeWrapped Reichstag, Berlin, 1971-95Permission was refused three times, in 1977, 1981 and 1987. Grant permission on 1994.Large-scale site installations Projects site –specific and time-based

10. AnishKapoorTarantara, 1999Work 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.”

11. Tara DonovanHaze, 2005Ordinary, industrially replicated materials to make artPoetic 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.

12. Do-HoSuhFloor, 1997-2000Private and public notions of spaceDrama and emotion

13. Ernesto NetoWalking in Venus blue cave, 2001Worlds 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.

14. BruceNaumanAnthro-Socio, 1992On 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 momentsensual experience the installation also encourages viewers to give thought to the inherent qualities of subjects and objects, and to human beings in society.

15. TonyOurslerInfluence Machine, October 19 - 31, 2000Madison 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.

16. Rudolf StingelWhitney Museum, New York, 2007A 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.

17. CharDavisOsmose, 1998Osmose 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.

18. Richard SerraA MatterofTime, 2005The 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.

19. JeffreyShawTheLegibleCity, 1988-91Advances 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.

20. Peter VogelDuo, 2006Peter 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.

21. KenRinaldoAutopoiesis,2000A robotic sculpture installationfifteen 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.

22. 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.