Academic literature on the topic 'Installations (art) – Occident – 2000-'
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Journal articles on the topic "Installations (art) – Occident – 2000-":
1
Anker, Helle Tegner, Chris W. Backes, Lasse Baaner, Andrea M. Keessen, and Stefan Möckel. "Natura 2000 and the Regulation of Agricultural Ammonia Emissions." Journal for European Environmental & Planning Law 16, no. 4 (December 6, 2019): 340–71. http://dx.doi.org/10.1163/18760104-01604003.
Abstract:
This article provides a comparative analysis of the regulation of ammonia emissions, primarily from livestock installations, in Denmark, Germany and the Netherlands. It discusses the challenges of regulating agricultural ammonia emissions in view of the rulings of the Court of Justice of the European Union (cjeu) on Art. 6(3) of the Habitats Directive. It is argued that the need to ensure certainty concerning the absence of significant effects on Natura 2000 sites is challenged by the uncertainties regarding both the state of individual habitat types and the potential impact of individual projects. A more integrated or programmatic approach may provide an alternative approach to individual assessments, but it is necessary to ensure that additional loads from new or enlarged livestock installations are permitted in areas with high ammonia loads only where it is certain that a programmatic approach will ensure that there are no harmful effects. This might be an almost impossible task.
2
Hyun, Soojung. "Mapping Spirituality in the Art of Sook Jin Jo." Religion and the Arts 27, no. 1-2 (April 11, 2023): 43–61. http://dx.doi.org/10.1163/15685292-02701017.
Abstract:
Abstract Korean-born artist Sook Jin Jo has produced a multidisciplinary array of sculptural installations for over three decades. Her primary materials consist of discarded wooden furniture, abandoned industrial materials, and trees from the natural environment. The assemblages, installations, and public art projects from these materials offer a renewed perspective on art. Sook Jin Jo broadens her philosophical interpretation of art by transforming crude objects into significant art. Her materials are taken from various resources not only to create original visual forms, but also to convey profound meaning in our everyday lives. In the context of “Being is born of Non-Being,” the artist’s spiritual and philosophical views are deeply connected to Taoism, which is coherent with Zen Buddhism. Meditation Space (2000) invites people to contemplate nature in a manner that resonates as a sacred space. Jo’s recent distinguished works have comprehensively synthesized the pieces she has done so far. In Art House (Art + Architecture) and Art House Chapel II (Art + Architecture), two nondenominational chapels extend beyond institutional religions. Her work profoundly touches the meaning of spirituality and harmony that embraces the history of the sites she utilizes within the art context. Jo’s site-specific works correspond to the healing of human beings and society rather than being aligned with traditional religious beliefs.
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Kazurova, Natalia V., and Ekaterina Yu Trushkina. "THE CORPOREAL IN THE VIDEO INSTALLATIONS OF IRANIAN-AMERICAN ARTIST AND FILMMAKER SHIRIN NESHAT." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 2 (2023): 119–36. http://dx.doi.org/10.28995/2686-7249-2023-2-119-136.
Abstract:
The article studies the art of the famous Iran-American artist and director Shirin Neshat. The recognition of Neshat’s talent around the world and the demand for her works show to the relevance of the issues spotlighted in her works. Shirin Neshat’s video installations have become classics of modern art and the subject of scientific study for art historians, orientalists, cultural scientists, philosophers and a wide range of researchers. The artwork by Neshat is wildly known as the symbol of modern Iranian art. It reflects all the painful political events of the modern Iran history. The article focuses on corporeal practices considered on the example of key works of the artist. The video installations “Turbulent” (1998), “Rapture” (1999), “Soliloquy” (1999), “Fervor” (2000), “Passage” (2001). The article provides a consistent and detailed analysis of corporeal practices (facial expressions, gestures, body plasticity, voice vibrations, etc.) and the body itself as a tool through which the author constructs the space of an artistic statement. The article presents the new classification of the corporeal through the concepts of “political body”, “poetical body” and “autobiographical body” in the art of Shirin Neshat
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Härmä, Vuokko. "Experiencing Pervasive Computer Mediated Art Exhibitions." Suomen Antropologi: Journal of the Finnish Anthropological Society 35, no. 3 (September 1, 2010): 90–93. http://dx.doi.org/10.30676/jfas.127502.
Abstract:
Cultural institutions such as museums and galleries are going through a transformation driven by an increasingly competitive funding environment and a sense that they need to reconnect with their contemporary visitors. Audience-led design has been seen as one of the main ways to attract visitors to museums for some time (McLean 1993). Active participation during visits to cultural institutions has been reported to generate positive feedback from visitors (Bagnall 2007), and so contemporary museums and galleries have become increasingly concerned with promoting public engagement through offering interactive installations (Hein 2000). Museum staff, exhibition designers and curators are under pressure to create attractive exhibitions that encourage participation and evoke emotional and behavioral responses. Thus the manufacturing of experiences has become a key issue in the design process, with digital technologies playing an increasing role in rendering artworks accessible. Drawing on research carried out in the UK, this paper considers the relationship between technologically mediated artworks and social interaction in museums and galleries, and suggests some further questions about possible cross-cultural variation in this relationship, specifically with respect to Finnish conventions of social interaction.
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Greyson, John. "Bazoocam 4′33″." TDR/The Drama Review 56, no. 2 (June 2012): 2–3. http://dx.doi.org/10.1162/dram_a_00182.
Abstract:
Bazoocam (and other forms of Chat Roulette) are unlikely venues for activism—and even unlikelier forums for collective performances of John Cage's 4′33″, in silent musical protest against Israel's raid on Gaza in November 2011. John Greyson is a Toronto film/video artist whose shorts, features, and installations include Fig Trees, Proteus, The Law of Enclosures, Lilies, Un©ut, Zero Patience, The Making of Monsters, and Urinal. An Associate Professor in Film Production at York University, he was awarded the Toronto Arts Award for Film/Video in 2000 and the Bell Canada Video Art Award in 2007.
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Strafella, Giorgio, and Daria Berg. "Yang Zhichao’s performance art at the margins: Within the Fourth Ring Road (1999) and the Chinese contemporary." Journal of Contemporary Chinese Art 10, no. 1 (August 1, 2023): 205–25. http://dx.doi.org/10.1386/jcca_00082_1.
Abstract:
This article explores the theme of marginality in the art of Yang Zhichao, a critically and socially engaged experimental artist who has been active in China since the mid-1980s. Yang’s oeuvre – which includes performance artworks, drawings and installations – revolves around the issue of sociocultural marginality in reform-era society, from the condition of migrant workers, beggars and psychiatric patients to the borderlands of Chinese civilization and the condition of the avant-garde artist. Drawing also on Chinese art criticism and two interviews with the artist, this study examines in particular the performance Within the Fourth Ring Road (1999) through its photographic and literary documentation. While writing on Yang Zhichao’s art has largely focused on his most extreme performances of ‘body art’ such as Planting Grass (2000), the artwork at the centre of this study highlights an anti-spectacular approach to performance art and reflects Yang’s stated belief in the importance of placing oneself in the circumstances of marginalized people in order to move beyond a voyeuristic gaze. Through a critical analysis of said approach the article reveals a quality that pervades Yang Zhichao’s multi-disciplinary artistic career – that is, its ‘contemporariness’, in Giorgio Agamben’s sense as a focus on the darkest, most emblematic aspects of one’s society and time.
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Wei, Chu-Chiun. "The aesthetics of the multitude in Chen Chieh-Jen’s Lingchi: Echoes of a Historical Photograph (2002) – A genealogy." Journal of Contemporary Chinese Art 5, no. 1 (March 1, 2018): 61–76. http://dx.doi.org/10.1386/jcca.5.1.61_1.
Abstract:
Taiwanese artist Chen Chieh-Jen’s video works directly address Taiwan’s post-martial law condition. His video installations demonstrate what I propose to identify as ‘the aesthetics of the multitude’. Through the process of filmmaking, Chen imagines the possibility of a collective political alliance. Theorized by Michael Hardt and Antonio Negri, the multitude rejects reductive identity politics and acts against capitalism. The multitude depicted in Chen’s work suggests a democratic potential that has the capacity to resist the sustained exploitation and homogenization that exists under neo-liberal globalization. His first video installation, Lingchi: Echoes of a Historical Photograph (2002), not only sets the tone for his later works but also signals a paradigm shift in Taiwanese contemporary art from the national to the global after 2000. I argue that Chen’s aesthetics of the multitude move beyond the contentious issue of national identity that characterizes Taiwan’s postcolonial art in the 1990s and anticipates the formation of a postnational subjectivity.
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Savasta Alsina, Mene. "Music is not enough." Revista Música 20, no. 1 (July 9, 2020): 381–400. http://dx.doi.org/10.11606/rm.v20i1.170852.
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The first event in Argentina that ever included arte sonoro in its programming was Experimenta. Through its concerts and workshops, it was a milestone for the argentinean experimental music at the end of the 90s. Since its first edition in 1997, it challenged circles and procedures already stabilized in music, bringing together artists from different generations and sonic searches. It was in its year 2000 edition that the festival incorporated arte sonoro as one of its tags for the first time. What does it happen when it becomes necessary, from one moment to the next, to use a new expression to name an artistic activity?
That music is not enough is the hypothesis of this outline of the sound art history in Argentina, which aims to illuminate the foundational moment when that category arte sonoro began to be used in the programming of events and festivals.
From the observation of the textual framework around works and events -that is, catalogs, critical texts or press releases- we will see that, since 2000 in Argentina, the initial circulation of the expression arte sonoro shows what could be understood as musical origin, as a reaction to what was established, and as one of the features that contribute to the particular identity of early Argentine arte sonoro, in contrast with other histories -from other geographies- that usually link the origin of sound art with art installations and the participation of galleries and museums.
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Donnelly, Mark. "Can Counter Histories Disturb the Present? Repohistory’s Street Signs Projects, 1992–1999." Art History & Criticism 14, no. 1 (December 1, 2018): 51–61. http://dx.doi.org/10.2478/mik-2018-0005.
Abstract:
SummaryThis paper argues that where appropriations or invocations of the past have contributed to projects of social and political change, they have usually done so with little or no recourse to the historical past. Instead, activists and campaigners have used various forms of vernacular past-talk to unsettle those temporary fixings of ‘common sense’ that limit thinking about current political and social problems. The example of such past-talk discussed here is the work of the art-activist collective REPOhistory, which sought between 1989 and 2000 to disrupt the symbolic patterning of New York’s official and homogenized public memory culture by making visible (‘repossessing’) overlooked and repressed episodes from the city’s past. In effect, they challenged the ways in which history’s dominance of past-talk within the public sphere was constituted by exclusions of subjects on grounds of gender, ethnicity and socio-economic status. REPOhistory fused politically-engaged art practices with Walter Benjamin’s belief in the redemptive potential of dialectical encounters between past and present. To assess the value of their art-as-activism projects (“artivism”), this article will situate REPOhistory’s practices within a frame of ideas provided by Benjamin, Jacques Derrida, Ernesto Laclau, and Chantal Mouffe. In a series of street sign installations that mixed visual art, urban activism, social history, and radical pedagogy, REPOhistory exemplified why the past is too important to be trusted to professional historians.
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Huschka, Sabine. "Media-Bodies: Choreography as Intermedial Thinking Through in the Work of William Forsythe." Dance Research Journal 42, no. 1 (2010): 61–72. http://dx.doi.org/10.1017/s0149767700000838.
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Since Ballet Frankfurt was reconstituted as the Forsythe Company in 2004, William Forsythe has increasingly explored formats of installation art practice. Works such as Human Writes (in collaboration with Kendall Thomas, 2005) and You made me a monster (2005) develop within an interactive and intermedial space and experiment with new ways to experience the production and perception of movement. “Performance installation” is the new term for this intertwined process of movement production and movement perception. The choreographic composition itself grows out of procedures of performative sensing by the dancers, which spreads to onlookers. This multiplex awareness of movement for which the dancer's body is the medium constitutes what I shall call the “media-body” as an essential moment of performance installation as choreographic event. Compared to earlier Forsythe installations—which he called “choreographic objects”—like White Bouncy Castle (1997), City of Abstracts (2000), or Scattered Crowd (2002), with their accessible spaces of movement (in White Bouncy Castle the spectator was a visitor moving about freely inside a white inflatable castle, and City of Abstracts featured choreographic projections of movement on large screens in open spaces) performance installations take place squarely in the theatrical context: in theater lobbies, exhibit halls, or accessible public performance spaces where dancers and the audience come together in a mutually shared yet operationally divided space that leads them into an interactive relationship.
Dissertations / Theses on the topic "Installations (art) – Occident – 2000-":
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Lauraire, Héloïse. "Parcours scéniques : un genre de dispositif esthétique spécifique dans l'art contemporain occidental des années 2005-2012 : étude d’une sélection d’œuvres de Christoph Büchel, Mike Nelson, Jonah Freeman & Justin Lowe." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080034.
Abstract:
Entre le début des années 2000 et celui des années 2010, quatre artistes contemporains occidentaux Christoph Büchel, Mike Nelson, Jonah Freeman et Justin Lowe construisent en Europe et aux États-Unis de gigantesques et énigmatiques installations multi-pièces. Notre hypothèse initiale était qu’il existait des relations entre les super-productions labyrinthiques de ces artistes, tant du côté de leurs conceptions que de celui de leurs réceptions. Notre étude s’attache à décrire et analyser les spécificités (construction, accueil du public, thèmes et références …) et les enjeux (exploration, élaboration d’un récit, mise en danger et prise de risques du spectateur…) des expériences esthétiques offertes par ces dispositifs aujourd’hui invisibles. La réunion et le dépouillement d’archives inédites concernant dix de ces œuvres et leurs génétiques ainsi qu’une enquête de terrain menée auprès de leurs spectateurs nous ont permis de reconstituer des images mentales de ces œuvres. Les plans et les ekphraseis, récits fictionnels illustrés, que nous présentons dans cette thèse témoignent des dimensions spatiales et temporelles de ces parcours scéniques et mettent au jour un ensemble de mises en scène, matériaux, thématiques analogues. Prenant pour objet les stratégies scénographiques des artistes et les ressentis des spectateurs, notre analyse nous conduit à envisager ces œuvres comme des installations émotionnelles et comme des narrations environnementales dystopiques. La traversée de celles-ci, tel un voyage initiatique, permet à chaque spectateur de déployer son imagination et de se ressaisir comme individu et sujet-agissantBetween the early 2000s and the early 2010s, four contemporary Western artists Christoph Büchel, Mike Nelson, Jonah Freeman and Justin Lowe built gigantic and enigmatic multi-room installations in Europe and the United States. Our initial hypothesis was that there were relationships between the labyrinthine super-productions of these artists, both in terms of their conceptions and their receptions.Our study describes and analyzes the specificities (construction, visitors reception, themes and references ...) and the issues (exploration, elaboration of a story, visitors’ endangerment and risk-taking...) of the aesthetic experiences offered by these works of art, nowadays invisible. The gathering and assessment of unpublished archives concerning ten of these artistic devices and their geneses as well as a field survey carried out among their spectators have enabled us to reconstruct mental images of these works. The plans and ekphrases, illustrated fictions, presented in this thesis reveal the spatial and temporal dimensions of these aesthetic walkthroughs and bring to light a set of similar set ups, materials, and themes. Based upon the scenographic strategies of the artists and the feelings of the spectators, our analysis leads us to consider these works as emotional installations and as dystopian narrative spaces. Walking across these, as if journeying through a voyage of initiation, sparks the spectator’s imagination and makes him fully conscious of his individuality and ability to take action
2
Cho, Nan-Young. "Rupture, restitution, prolifération dans les arts visuels entre orient et occident : trois moments créateurs de l'espace contemporain." Paris 1, 2008. http://www.theses.fr/2008PA010603.
Abstract:
Mon travail s’origine dans la maison natale disparue, qui est recrée par le geste artistique, lequel se développe en trois moments : rupture, restitution, prolifération. La rupture, manifestée par le déchirage d'un matériau, le papier coréen, à partir duquel commence ma création, dit la perte de la maison. La restitution, opérée par le collage des morceaux déchires, signifie l'enracinement dans un nouvel espace, elle dit le recommencement sous une forme mutante, non habitable, de la maison natale. Enfin I' expansion des morceaux associes les uns aux autres dans un espace donne, celui où je vis, crée la surface artistique. Cette expansion induit la notion de prolifération au sens de "inachevé, toujours ouvert" et ainsi elle manifeste la continuité de la vie à partir de l'origine, la maison natale. Rupture, restitution, prolifération, les trois moments de la composition visuelle sont lies dans une approche faisant appel a des concepts de l' art et de la vie, aussi bien du monde occidental ou je vis que de la sphère orientale où j’ai grandi.
3
Rutily, Aline. "Tapis-jardin. Migration, mutation, transculturalité : entre Orient et Europe, arts visuels et littérature." Paris 1, 2012. http://www.theses.fr/2012PA010654.
Abstract:
Notre thèse s'articule autour de trois notions : la migration, la mutation, la transculturalité. Ces notions sont analysées à partir d'un corpus d'œuvres personnelles réalisées entre 1992 à 2011, autour d'un thème commun: le Tapis-Jardin. Ces notions permettent de confronter une démarche artistique aux prises avec des déplacements et des territoires d'enfance, en relation avec un espace de références articulant les arts du tapis et du jardin, aux champs de la littérature et des arts visuels. Les problématiques sont liées à des évolutions de pratiques au sein du thème récurrent, d'installations in situ, puis des Carnets de chemins, de carnets virtuels, d'installations in process, jusqu'à la notion d' « installation virtuelle» en ligne. Les questionnements portent également sur des expériences pédagogiques réalisées sur le même sujet. Les dialectiques entre l'ancrage et le déplacement, entre le réseau et le territoire permettent de fonder une démarche de « paysage migrant», de « paysage mutant» et d'une transculturalité construite à partir du Tapis-Jardin comme pluralité de cultures au croisement des singularités
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Le, Fur Iris. "La plasticité sonore : la création visuelle et sonore, une interaction sensorielle, émotionnelle et sémantique." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0101.
Abstract:
Sur la base d’une pratique artistique explorant le phénomène vibratoire de la matière, cette thèse propose une réflexion sur les interactions entre matières sonores et matières visuelles au sein d’une même production plastique. Il s’agit d’analyser l’acte de création composé d’un agencement sensible de divers éléments auditifs et visuels réagissant de manière réciproque et provoquant une mutation de leur perception sensorielle, émotionnelle et sémantique. Un tour d’horizon de certains grands acteurs de l’histoire des pratiques sonores au XX° et XXI° siècle permettra d’aborder la question de l’interaction entre l’ouïe et la vue dans une production artistique. Seront abordées les notions de plasticité sonore, de mouvement vibratoire par l’altération, ainsi que du métissage plastique issu du métissage culturel. Dans un second temps, mon étude portera sur le processus de création d’une installation sonore par mode vibratoire, à travers l’écoute, le processus d’écriture sonore et les caractéristiques des espaces publics en tant que lieu d’accueil d’une œuvre. En dernier lieu, l’étude de la spécificité de la vibration sonore à générer des émotions, mettant en relief les mécanismes cérébraux sollicités par la perception bi-sensorielle aussi bien au niveau du corps de l’artiste créant, que ceux du public expérimentant l’œuvreOn the basis of an artistic practice exploring the vibratory phenomenon of matter, this thesis proposes a reflection on the interactions between sound and visual materials within the same plastic production. It is a matter of analyzing the act of creation comprising a sensoriel arrangement of various auditory and ocular elements reacting reciprocally and causing a mutation of their sensory, emotional and semantic perception. A survey of some of the major 20th and 21st century players in the history of sonic cultural practices will address the issue of the interaction between hearing and sight in an artistic production. The notions of sound plasticity, of vibratory movement through alteration, as well as that of plastic mixing resulting from cultural intermingling will be discussed. secondly, my study will focus on the process of creating a sound installation by vibratory mode, through listening, the process of sound writing and the characteristics of public spaces as an artwork. Finally, the study of the specificity of sound vibration to generate emotions, highlighting the cerebral mechanisms required by bi-sensory perception both in the body of the creative artist and those of the public experiencing the 'artwork
Books on the topic "Installations (art) – Occident – 2000-":
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Berger, Maurice. Fred Wilson: Objects and installations 1979-2000. Baltimore, Md: Center for Art and Visual Culture, University of Maryland Baltimore County, 2001.
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Argiles, Mónica Sánchez. La instalación en España, 1970-2000. Madrid: Alianza Editorial, 2009.
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Rogala, Mirosław. Gesty wolnosci: Prace 1975-2000 = Gestures of freedom : works 1975-2000. Warszawa: Centrum Sztuki Wspóczesnej-Zamek Ujazdowski, 2002.
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Rogala, Mirosław. Gesty wolności: Prace 1975-2000 = Gestures of freedom : works 1975-2000. Warszawa: Centrum Sztuki Współczesnej-Zamek Ujazdowski, 2001.
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Pla, Eduardo. Eduardo Pla: Obras 2000/05. [Buenos Aires]: Planetario Galileo Galilei, 2005.
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Argiles, Mónica Sánchez. La instalación en España, 1970-2000. Madrid: Alianza Editorial, 2009.
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Argiles, Mónica Sánchez. La instalación en España, 1970-2000. Madrid: Alianza Editorial, 2009.
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Kuskowski, Kamil. Kamil Kuskowski, 2000-2012: Prace = works. Bielsko-Biała: Galeria Bielska BWA, 2011.
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Pak, Hyŏn-gi. Pak Hyŏn-gi, 1942-2000 mandara: Mandala : a retrospective of Park Hyunki (1942-2000). Kyŏnggi-do Kwach'ŏn-si: Kungnip Hyŏndae Misulgwan, 2015.
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Barclay, Claire. Moderna Museet projekt: 16.6-13.8 2000. Stockholm: Moderna Museet, 2000.
Book chapters on the topic "Installations (art) – Occident – 2000-":
1
"The Video Veronicas of Bill Viola." In Breaking Resemblance, edited by Alena Alexandrova. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823274475.003.0006.
Abstract:
This chapter focuses on several video installations by Bill Viola. Starting in the late 1990s, Viola created a series of video installations that refer to or even closely restage well-known religious paintings. His work makes an interesting case as it seeks to define the conditions of spiritual experiences in the space of the contemporary museum or gallery. Memoria, 2000, or Unspoken: Silver and Gold,2001, are video portraits of emotional states of anguish and suffering projected on a veil or gold surface. Both installations cite the motif of Veronica’s Veil and engage with the complex history of interpretation of the acheiropoieticimage by combining it with a theatrical replay of states of extreme emotional tension. Viola borrows religious formats and iconic masterpieces of religious art in which the religious figures are substituted with anonymous contemporaries. The images function as an embedded frame, thus more as a device than as an image. Next to being a means of reflecting on the human condition, Viola’s engagement with religious art can be read as an attempt to comment on the history of the relatively young medium of video. Viola’s interest in spiritual motifs can be understood as a concern with the intrinsic capacity of the medium of video that can create overwhelming experiences and spiritual effects.
Conference papers on the topic "Installations (art) – Occident – 2000-":
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Bianchi, Dino, Paolo Noccioni, and Catherine J. Silvestri. "The New PGT5B/2: A State-of-the-Art 6MW Two-Shaft Gas Turbine." In ASME Turbo Expo 2000: Power for Land, Sea, and Air. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/2000-gt-0561.
Abstract:
The new PGT5B is a compact, state-of-the-art, 6 MW industrial gas turbine. The unit is available in two configurations: a single shaft for power generation and a two-shaft for mechanical drive applications. Maximum commonality has been maintained between the single and two shaft models. Both units share a common gas generator, with evident benefits in all the installations where mixed operations are required. The two-shaft engine is simply obtained by removing the second stage turbine from the single shaft unit and adding a two-stage power turbine. The unit is an evolution of the existing PGT5, building on the experience of the successful PGT10 model. The synergy between GE Aircraft Engines and GE Power System Nuovo Pignone, with the benefit of GE’s Six Sigma Total Quality Methodology, has permitted the application of the most advanced technology in the development of the major components of the engine. The high efficiency axial compressor is a scaled down version of the successful PGT10B, chosen as the base compressor for the new PGT’s product line. It has been obtained by the combination of advanced fully 3D aero-design, custom airfoil shape and blade stacking optimization. The annular DLE, dual fuel combustion system, developed according to the proven aircraft engines design, is able to satisfy the most stringent environmental regulations. The axial turbine, with sophisticated air cooling system, is designed to reach high values of firing temperature consistent with future uprates. The application of advanced CFD analysis using 3D viscous multi-rows codes and unsteady simulation has resulted in a very high efficiency turbine. The two stage uncooled power turbine capitalizes on Nuovo Pignone’s experience in the mechanical drive market. While the single shaft version is particularly suitable for power generation and cogeneration due to the high exhaust temperature, the two-shaft version, with wide operating speed range, is designed to be a reliable and efficient mechanical drive for compressors and pumps. The Power Turbine speed for optimum application efficiency (up to 34.%) is 12,500 rpm, with a capability range from 50% to 105% of nominal speed. The flexibility of the standard package satisfies the different installation requirements of oil and gas market. The simplicity of construction and the modular design concept of both the engine and package facilitate maintenance and reduce downtime and labor during servicing.