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1
Rios, Patricia, and Aquiles Negrete. "The object of art in science: science communication via art installation." Journal of Science Communication 12, no. 03 (December 11, 2013): A04. http://dx.doi.org/10.22323/2.12030204.
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Science is part of our everyday live; so is art. Some art installations that link the two require the active presence of the spectator. Thereby they help to raise the awareness, promote understanding, and generate an emotional response from the public. This project rests on the public participation model that seeks to explore the connection between art installations and science communication through experiential learning. In order to test the effectiveness of an art installation communicating science two groups were contrasted. The first was exposed to a list of scientific facts; the second participated in the creation of an art installation. The results of this research suggest that art installations do promote long-term fact retention. Therefore, the use of art installations can be considered an interesting method of conveying science in an attractive, reliable, and memorable way.
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Zečević, Marija. "Installation: Between the Artistic and Architectural Project." AM Journal of Art and Media Studies, no. 12 (April 15, 2017): 55. http://dx.doi.org/10.25038/am.v0i12.167.
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The subject of this research is the art installation, a spatial creativity that arises in relation between art and architecture. In a more narrow definition, the subject of the research is installations created in the formative period of the 60s and 70s up to the present. As a ‘critical spatial practice’ art installations are conceived in the form of alternative proposals for settlements which enter the field of architectural design. Ideas concerning new sets of relations between the subject and a spatial order indicate the potential of the use of the concept of art installations in architectural design. The initial hypothesis is that art installations represent the articulation of a place of dialogue between art and architecture, which opens up a new field of research in architectural design. The aim of the research is to show the position of art installations as architectural projects. The applied methodological procedures approach architectural design in a manner of synthesizing the architecture and art in a new form of visual culture. The paper deals with the study of artistic concepts in terms of design, which emphasizes the importance of an interdisciplinary approach to research and the importance of integrating the principles of art in the field of architectural design. The main contribution of this paper is reflected in the expansion of the problem and thematic framework of research on architectural design, contemporary art and their relation. Article received: December 21, 2016; Article accepted: January 10, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Zečević, Marija. "Installation: Between the Artistic and Architectural Project." AM Journal of Art and Media Studies 12 (2017): 55-70
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Cuan, Catie, Erin Berl, and Amy LaViers. "Time to compile: A performance installation as human-robot interaction study examining self-evaluation and perceived control." Paladyn, Journal of Behavioral Robotics 10, no. 1 (August 28, 2019): 267–85. http://dx.doi.org/10.1515/pjbr-2019-0024.
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AbstractEmbodied art installations embed interactive elements within theatrical contexts and allow participating audience members to experience art in an active, kinesthetic manner. These experiences can exemplify, probe, or question how humans think about objects, each other, and themselves. This paper presents work using installations to explore human perceptions of robot and human capabilities. The paper documents an installation, developed over several months and activated at distinct venues, where user studies were conducted in parallel to a robotic art installation. A set of best practices for successful collection of data over the course of these trials is developed. Results of the studies are presented, giving insight into human opinions of a variety of natural and artificial systems. In particular, after experiencing the art installation, participants were more likely to attribute action of distinct system elements to non-human entities. Post treatment survey responses revealed a direct relationship between predicted difficulty and perceived success. Qualitative responses give insight into viewers’ experiences watching human performers alongside technologies. This work lays a framework for measuring human perceptions of humanoid systems – and factors that influence the perception of whether a natural or artificial agent is controlling a given movement behavior – inside robotic art installations.
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Ehninger, Eva. "Die Land Art als Film." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 55, no. 1 (2010): 109–27. http://dx.doi.org/10.28937/1000106160.
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"Parallel zu ihren monumentalen Außenrauminstallationen, die während der späten 1960er und frühen 1970er Jahre im Westen und Südwesten der USA realisiert wurden, haben einige Vertreter der amerikanischen Land Art auch Arbeiten im filmischen Medium produziert. Die Frage nach dem Stellenwert dieser Filmbeiträge für das jeweilige Œuvre ist in der Forschung ein Streitpunkt. Dieser Artikel bewertet weniger ihren Status als eigenständige Werke oder Dokumentationen, sondern widmet sich einem Thema, das Installationen und filmische Arbeiten gemein haben: die Kritik am klassischen Raumverständnis. Anhand zweier Werkgruppen der Künstler Walter De Maria und Robert Smithson wird die Neuverhandlung der konventionellen Regeln räumlicher Ordnung und perspektivischer Darstellung in beiden Medien diskutiert. Aus den Werkanalysen lässt sich ableiten, daß die filmischen Werke nicht lediglich die veränderte Raumwahrnehmung in den Land Art-Installationen abbilden, sondern eine vergleichbare Kritik am klassischen Raumverständnis mit filmspezifischen Mitteln vollziehen.<br><br>In parallel to their monumental installations, which were built in the Western and South- western deserts of the U.S. in the late 1960s and early 1970s, a number of representatives of American Land Art have also produced works on film. Researchers have held divergent views about the importance of these films for the understanding of the installations and about their character as either independent works or mere documentations. This article takes a different approach and analyses an element common to both installations and films: the critique of conventional constructions of illusionistic space. The repudiation of conventional spatial structures and of the representation of perspective is discussed on the basis of works by Walter De Maria and Robert Smithson. A formal analysis demonstrates that the films go beyond merely showing the conception of space in Land Art installations. Instead, they perform a similar critique of conventional ideas of space with decidedly cinematic techniques."
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Lilin, You. "The Feminist Installation Art in Modern China." Vestnik of Saint Petersburg State University of Culture, no. 1 (58) (2024): 129–35. http://dx.doi.org/10.30725/2619-0303-2024-1-129-135.
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Feminist installation art in contemporary China is one of the most dynamic and controversial trends in Chinese contemporary art. It reflects the complex processes of social, political and cultural transformation that have been taking place in China in recent decades. Feminist installations express critical attitudes towards traditional gender roles, national identity, environmental issues and globalization. However, feminist installation art in contemporary China has not received sufficient scholarly coverage and analysis in domestic and foreign literature. Existing studies are often limited to describing individual works or female artists without considering the historical, cultural, and social contexts in which this trend is formed and developed. In addition, many feminist installations have a complex semiotic structure that requires a deep and multidimensional interpretive approach. The expected outcome of the article is a comprehensive and multilevel study of feminist installation art in contemporary China, which will allow for a better understanding and appreciation of its significance.
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Erel, Yael, Foteini Kyriakidou, and Rodrigo Eduardo Muro Avendano. "Urban Illuminations – Light Art Activating The Public Realm." IOP Conference Series: Earth and Environmental Science 1320, no. 1 (March 1, 2024): 012012. http://dx.doi.org/10.1088/1755-1315/1320/1/012012.
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Abstract How can contemporary light art installations impact the sensorial perception of the urban context to modify and reinterpret urban space? In Robert Irwin’s words, how can they provide “…an extended way of looking at the world”? In this paper, we examine how temporary light installations may impact the public realm by modifying citizens’ perceptions of moments in the city: a habitual urban passage is interrupted with a temporal experience, changing the way the urban space is experienced. We explore how site-specific light installations create unique intersections of audience and spatial perception through the artists’ intent of creating new urban atmospheres through an experiential layer added onto the urban fabric during light festivals. To do so we analyze and discuss two light installations that we designed and executed, which were shortlisted for the 2022 [d]arc awards. Both projects took part in larger urban light festivals and were located within urban passages. “Reflecting on Troy” [Author 1 - Troy Glow Light Festival] created a temporal light graffiti in an urban alley, while “Riddle 102” [Authors 2,3 - Nobel Week Lights], a dynamic lighting installation in a 231m pedestrian tunnel, created an immersive environment that alters the perception of the tunnel’s physical dimensions. Through reflections, as well as visitor and curator reviews, we unpack the intent and impact of the works on the perception of the urban context. We discuss and analyze the similarities and differences between the two urban settings, identify the design processes and principles pertinent to site-specific light installations [materials, lighting fixtures, testing] and address the impact darkness and over-lit spaces have over spatial perception. Lastly we discuss the impact a temporary light installation may have on the collective memory of the city, perceived in person or online.
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Prisco, Brianna. "Living Art: An Exploration of Interactive Art Installations." Art Education 69, no. 5 (August 15, 2016): 49–57. http://dx.doi.org/10.1080/00043125.2016.1202078.
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Paul, Christiane. "Renderings of Digital Art." Leonardo 35, no. 5 (October 2002): 471–84. http://dx.doi.org/10.1162/002409402320774303.
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This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the themes and narratives specific to her selection of artwork, specifically interactive digital installations and net art. By addressing these forms, the author illustrates the hybrid nature of this medium and the future of this art practice.
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Bouzguenda, Ghada. "Eco-Public Installation Through Landscape Architecture for Sustainability in the Urban Space." International Journal of Architecture, Arts and Applications 10, no. 2 (June 29, 2024): 60–68. http://dx.doi.org/10.11648/j.ijaaa.20241002.14.
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Sustainable art in landscape architecture encompasses activities like installing works of art that are durable, functional, decorative, iconographic, interpretative, integrated, ephemeral, or temporary. Projects of sustainable installation in landscape architecture have highlighted the contributions of public arts in social, cultural, and economic aspects. Studying the environmental impacts of public art in cities is still lacking. The purpose of this article is to highlight the contribution of eco-art in urban space to the development of sustainable cities, through the exam of a selection of sustainable installation from the word. Therefore, peer-reviewed articles and online resources were used to analyze sustainability, awareness, and environmental values associated with eco-public art and sustainable installations in order to inspire other directions, such as a dialogue between art and the public, landscape architecture, and environmental sustainability through public art. Despite landscape architecture studies are often focused on sustainability; however, there is little research on how to create durable installations through the synergy between art, design, and architecture. Based on the analysis of selected projects using a combination between art, design, and architecture concepts, to create an eco-installation in the urban space, it was highlighted that, during the early phases of promoting the green city concept, Eco-Public Art promotes visual support, tools, and the form of knowledge. All the analyzed sustainable projects were developed to demonstrate the best approach to public art because of their attitude and behavior toward the major issues.
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Chemberzhi, Daria. "The importance of installation art for the development of contemporary art in the world and Ukraine." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 278–87. http://dx.doi.org/10.37131/2524-0943-2019-39-19.
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Article is devoted to a research of a role and the place of art installation in the modern world. At the same time the retrospective analysis of a role of art installation in the past and comparative characteristic with the present is carried out. The Ukrainian context of development of art installation is also revealed. At the same time it is found out that installation is not only an important component of modern art, but also an integral part of historical discourse. Due to its visual functions, the installation actively influences the viewer. For the most part, installations are not just an object in space, it is what is the very space - how much the installation work has the ability to fill the space, integrate into it organically and holistically. At the same time, the main factor in the creation and existence of an installation in the exhibition space, as well as in other relevant arts, is its relationship with the viewer. In this study, the socio-cultural aspect of the installation is important, understanding of the significance of this form of contemporary artistic practices for a common worldview system. Such problems as the assimilation of new experience from the point of view of global processes, on the one hand, and the preservation of the national cultural identity in contemporary art, on the other – actualize the pattern of the process of perception of a new culture. In article it is found out that graphic schools are based on existence of certain art and educational institutions where graphic artists who carry out the teaching activity and own creativity a high mission of formation of new generation of masters create. Not less important factor is acceptance of experience of teachers and its further development in creativity of pupils and followers. Art of installation is an integral part of the modern fine arts of Ukraine. Emergence and development of this art form in the national cultural environment became possible under conditions of intensive creative activity of artists which reached the high level of mastery in connection with deeply philosophical judgment of problems of the present. At the end of XX – the beginning of ХХІ century, looking for new ways of development, the Ukrainian artists addressed installation which as it is possible better answered esthetic inquiries of an era and became a symbol of spiritual updating of the personality. Installation turns into a key factor of development of different spheres of culture, thereby playing a noticeable role in development of national culture. Installation in the modern art helps to be focused and inform of the idea and understanding of global problems to adherents of different genres of art, the audience of different age categories and social groups. Since declaration of independence development of the independent state and formation of own cultural policy aimed at providing free development of national culture and preservation of cultural inheritance begins. The state forms the legislative base which can provide cultural development and an open entry of all citizens to its achievements. In 1992 the Verkhovna Rada of Ukraine accepts "Principles of the legislation of Ukraine about culture" where the basic principles of public policy in the sphere of culture directed to revival and development of the Ukrainian national culture, ensuring freedom of creativity, free development of cultural and art processes, realization of the rights of citizens to access to cultural values, creation of material and financial conditions of cultural development were declared. It is found out that installation is an art equipment which uses the three-dimensional objects intended for change of perception of space by the person. The term "installation" in English appeared long ago – in the XV century. It means process of construction, collecting, drawing up something (now use it also for establishment definition, for example, of the software). With the advent of different technologies – videos, and later and the computer – arose also different types of installations which now peacefully coexist with other arts, for example, painting or a sculpture, without being inferior to them. Hardly somebody will be able to designate exact date of emergence of installations and their judgment as art form. Now installation represents the certain room according to the decision of the author transformed to art space. It is filled with a number of objects to which the symbolical value is often provided. Harmonious connection of things, their arrangement indoors is also art. Installations can be the constant objects exposed in the museums or be created temporarily in public and private spaces. The space of installation can include different types of the things and images circulating in our civilization: pictures, drawings, photos, texts, video, movies, tape recordings, virtual reality, Internet, etc. Installations are regularly presented at the international exhibitions of the modern art, such as Venetian the biennial. The most prestigious art museums and art galleries of the world give to installation art the best platforms from time to time. At the same time, the research of this form of art lags behind the progressing shaping a little. The phenomenon of installation is considered as a part of a performance that is entirely logical. But install processes, especially the last decades, proved what is absolutely self-sufficient the cultural phenomena which need serious scientific approach and judgment, require attention to a research of characteristics install the practician, activity of certain artists, a tipologization and the scientific analysis of modern processes
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Smart, Jennifer. "Object-Oriented Sociality: Marina Rosenfeld’s Sound Installation Art." AMP: American Music Perspectives 2, no. 2 (December 2021): 171–83. http://dx.doi.org/10.5325/ampamermusipers.2.2.0171.
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ABSTRACT Marina Rosenfeld’s artistic practice is guided by the questions of what (and where) music can or should be. Over the last three decades, the artist and composer has explored these questions through both large-scale performances and intimate multimedia gallery installations, which, as she describes it, are invested in “acoustic architectures and experimental forms of sociality.” This article focuses on Rosenfeld’s gallery installations to consider the ways in which her multimedia work transforms the art gallery into a performative space. By closely attending to the materiality of Rosenfeld’s visual and sonic objects in a recent exhibition, this article explores the manner in which sound-based installation art affords an opportunity to grasp music’s dispersed object-hood as it circulates through and across materials, feelings, and spaces. The author argues that Rosenfeld’s installation practice reveals both music and sonic experience more broadly to be a multimedia, collaborative activity, and affords an opportunity to, in the words of Will Straw, trace the inescapable manner in which sound’s “technologies and assemblages” contribute to its shared social “meaning, affect, and memory.”
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Basanta, Adam. "Extending Musical Form Outwards in Space and Time: Compositional strategies in sound art and audiovisual installations." Organised Sound 20, no. 2 (July 7, 2015): 171–81. http://dx.doi.org/10.1017/s1355771815000059.
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Sound and media installations are rarely considered from a time-based, formal perspective. In order to enable a greater understanding of temporal form in sound installations, I suggest a cross-disciplinary adaptation of musical form to the installation context. Due to the differences between concert and installation presentation practices – including, but not limited to, the increased agency of the mobile visitor – I re-examine form in installation contexts as the particular temporal experience co-produced by the first-person subject as they navigate in, through and out of the work’s frame. By applying this musical perspective to macro-scale formal structures, a set of tools and concepts become available for the analysis of temporal form in existing sound or audiovisual installations. Using practice-based observation and analysis, I describe several compositional strategies through which musical concepts of material and form can be extended in space and time: each of these strategies provides means with which to shape or constrain the visitor’s co-production of experiential form. Finally, I discuss several strategies that can be used for the creation of large-scale form, with particular reference to algorithmic design principles used in my recent audiovisual installation, Room Dynamics.
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Godley, L., R. Frasso, T. Igoe, Y. Erel, and J. LeNoir. "The Use of Immersive Light-Based Art for Well-Being." IOP Conference Series: Earth and Environmental Science 1320, no. 1 (March 1, 2024): 012008. http://dx.doi.org/10.1088/1755-1315/1320/1/012008.
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Abstract This paper presents the findings of ‘Waiting Room - Immersive Art for Well-being,’ an exhibition of various dynamic light art installations that investigated the potential impact of this work on viewers’ sense of well-being in a mock healthcare setting. Research shows that exposure to art impacts human health, improving overall healthcare experiences, resulting in shortened hospital stays, improved recovery time, and reduced need for pain management. The purpose of this study was to determine if exposure to dynamic light art has an impact on overall well-being. Qualitative data were collected using electronic questionnaires associated with 11 different dynamic light art installations. Open-ended questions explored how participants perceived and valued the presence of and engagement with dynamic light art installations and captured their views on the potential benefit of exposure. Visitors took part in questionnaires to obtain feedback on user experience, the length of exposure/engagement, and the effect the experience had on them. Overwhelmingly, users reported a sense of “calm” and “peacefulness” after spending time with the dynamic light art. One hundred ninety-five responses were collected. This study allowed us to gain a better understanding of how dynamic light art may be used to ameliorate stress and anxiety in spaces where users are confined for periods, as well as identifying key areas for future research, such as particular aspects of the installations or sub-populations that may particularly benefit from this type of intervention. This investigation leads to further studies exploring how exposure to dynamic light art may impact patients, visitors, and family members in various healthcare settings to determine if the perceptions and experiences vary by type of installation. Additionally, this work will inform future explorations of adaptations to dynamic light art, i.e., dynamic and interactive technologies on viewer experience.
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Dupree, Catherine. "Sonja Alhääuser's Sweet Installations." Gastronomica 3, no. 1 (2003): 10–13. http://dx.doi.org/10.1525/gfc.2003.3.1.10.
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Don't we visit museums to look at art, not 'heaven forbid' to smell it, salivate at it, and eat it? Don't we arrange our sculptures on pedestals, and contemplate aesthetic at arm's length? German artist Sonja Alhuser thumbs her nose at such convention. She makes sculptures from sweets, and gleefully invites us to devour them. Soon, chocolate crumbs litter the gallery floor and her sculptures are reduced to rubble. There's an alluring naughtiness to this endorsed destruction-by-consumption of art in such an elegant setting. But as we nibble, aren't we contradicting the museum's mission to preserve and honor art? Haven't we dismantled the museum-goer's role as observer? Alhuser's gradually disappearing sculptures prompt us to question traditional beliefs and expectations about art's immortality and its function in museums. By instructing us to eat (and alter) her work, Alhuser relinquishes aesthetic control, and denies the dictum that great art is perfect as is. Instead, she lures us with chocolate's evocative and nostalgic aromas, and asks us to participate in her work and its destruction. We are no longer mere observers, but have been invited inside.
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Tillett, Aubree. "Military Families and the Arts: An ArcGIS StoryMaps Collection to Discover Art Institutions Near Active-Duty Military Installations." portal: Libraries and the Academy 24, no. 2 (April 2024): 217–33. http://dx.doi.org/10.1353/pla.2024.a923704.
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abstract: Military Families and the Arts is an ArcGIS StoryMaps collection that serves military families by mapping art museums and arts centers located near active-duty military installations. The interactive maps are organized by military branch and browsable by an alphabetical list of active-duty military installations. The ArcGIS StoryMaps collection serves three primary functions: to assist military spouses pursuing a career in the arts with finding a comprehensive list of potential employers, to assist military dependents with finding arts-related opportunities to network into their current or new communities, and to assist military families with finding art-related activities near their military installation in the continental United States.
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Konečni. "Emotion in Painting and Art Installations." American Journal of Psychology 128, no. 3 (2015): 305. http://dx.doi.org/10.5406/amerjpsyc.128.3.0305.
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Krstich, Vesna. "Videotaping Art Installations: A Research Tool." Curator: The Museum Journal 48, no. 4 (October 2005): 467–73. http://dx.doi.org/10.1111/j.2151-6952.2005.tb00188.x.
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Kontogeorgakopoulos, Alexandros. "Music, Art Installations and Haptic Technology." Arts 12, no. 4 (July 7, 2023): 142. http://dx.doi.org/10.3390/arts12040142.
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This paper presents some directions on the design, development and creative use of haptic systems for musical composition, performance and digital art creation. This research has been conducted both from an artistic and a technical point of view and its ambition, over the last decade, apart from the artistic outcome, was to introduce the field of haptics to artistic communities based on an open, do it yourself—DIY ethos. The five directions presented here are not in any sense exhaustive and are based principally on a series of collaborative works and more personal open-ended explorations with the medium of haptics and, more specifically, force-feedback interaction. They will be highlighted along with information about the interaction models and their application to artistic works created by the author and other colleagues. Those directions are (i) Haptic Algorithms and Systems; (ii) Performers Intercoupling; (iii) Haptic Interfaces as Part of the Artistic Practice; (iv) Electromechanical Sound Generation; and (v) Media Art and Art Installations. The interdisciplinary field of musical haptics still has a relatively minor position in the sound and music computing research agendas and, more importantly, its artistic dimension is very rarely discussed. The findings of this research aim to indicate and clarify potential research pathways and offer some results on the use of haptics and force-feedback systems in an artistic context.
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Goldstein, Jennie. "Dance History in Contemporary Visual Art Practice: Kelly Nipper’s Weather Center." TDR/The Drama Review 60, no. 2 (June 2016): 103–21. http://dx.doi.org/10.1162/dram_a_00550.
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Kelly Nipper’s video installation Weather Center (2009) is emblematic of the presence of dance in recent visual art. Nipper’s persistent fascinations with Mary Wigman, Laban Movement Analysis, and expansive notation practices result in live performances, moving-image installations, and photographs, creating visual art that reveals how dance and its particular histories can function as malleable material within the museum.
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Hottman, Tara. "Alexander Kluge’s Installations." New German Critique 47, no. 1 (February 1, 2020): 57–80. http://dx.doi.org/10.1215/0094033x-7908378.
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Abstract Analysis of recent exhibitions featuring Alexander Kluge’s earlier films and televisual work in dialogue with work by other artists demonstrates how the aesthetics of installation art and modes of exhibiting moving images in art museums and galleries have allowed Kluge to continue developing but also revise practices he first engaged in other media. The so-called white-cube exhibition space presents Kluge’s earlier works in terms of remediation and provides him with an opportunity to employ and reconceptualize his approach to montage techniques and reception aesthetics. With their deployment in the white cube, his earlier works become emphatically transmedial, their content and forms no longer bound to one primary medium. This article proposes that the white cube might be better suited for actively and collectively engaging with Kluge’s work in the twenty-first century than the black box of the cinema, the late-night television screen, or the internet.
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Steinkamp, Jennifer. "My Only Sunshine: Installation Art Experiments with Light, Space, Sound and Motion." Leonardo 34, no. 2 (April 2001): 109–12. http://dx.doi.org/10.1162/002409401750184645.
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The author discusses her interactive architectural installation art. As an artist who works with new media, she finds herself refitting existing genres and creating new languages for her particular art form. Her artwork consists of projected interactive computer animation installations. She investigates illusions that transform the viewer's perception of actual space in a synthesis of the real and the virtual.
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Agac, Saliha. "Installation Artist in the Fashion Industry: Yayoi Kusama." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 27, 2017): 35–41. http://dx.doi.org/10.18844/prosoc.v4i11.2847.
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The history of fashion has shown that art and fashion are influenced by each other. Cooperation between the two disciplines is quite extensive. In this work, first, the installation artist Yayoi Kusama’s installations and the clothes that she prepared for these installations are examined. Then, the 2012 collection prepared with the cooperation of Yayoi Kusama-Louis Vuitton was examined and visual content analysis forms were created. As a result of the findings, a capsule collection was prepared in honour of Yayoi Kusama and photographed by establishing the figure–ground relationship as in the fashion photographs of the Yayoi Kusama-Louis Vuitton collection. Keywords: Yayoi Kusama, Louis Vuitton, fashion design, art, capsule collection.
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Abdullah, Sarena, and Carmen Nge Siew Mun. "Spaces of Experimentation and Collaboration in Early 1990s Malaysian Art." Southeast of Now: Directions in Contemporary and Modern Art in Asia 6, no. 2 (October 2022): 47–75. http://dx.doi.org/10.56159/sen.2022.a871491.
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Abstract: At the zenith of the Mahathir era, amidst the economic boom and rapid development of the early 1990s, Malaysian art exhibitions were charting a novel path in the arena of installation and performance art. This paper will closely examine three seminal installation art exhibitions, namely Sook Ching (1990), 2 Installations (1991), and Warbox Lalang Killing Tools (1994), where some of the artists involved chose to perform and/or collaborate with dancers and theatre makers, culminating in some of the earliest experiments with performance art in Malaysia. What sets them apart from other installation exhibitions of that period is their use of performance as a tool to confront, unsettle, and challenge audiences in institutional spaces, thereby opening up new possibilities for experimentation and risk-taking.
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Sommerer, Christa, and Laurent Mignonneau. "Art as a Living System: Interactive Computer Artworks." Leonardo 32, no. 3 (June 1999): 165–73. http://dx.doi.org/10.1162/002409499553190.
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The authors design computer installations that integrate artificial life and real life by means of human-computer interaction. While exploring real-time interaction and evolutionary image processes, visitors to their interactive installations become essential parts of the systems by transferring the individual behaviors, emotions and personalities to the works' image processing. Images in these installations are not static, pre-fixed or predictable, but “living systems” themselves, representing minute changes in the viewers' interactions with the installations' evolutionary image processes.
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Petrenko, Dmitry. "INSTALLATION ART IN THEUKRAINIAN VISUAL CULTUREOF THE BEGINNING OF THE ХХІ CENTURY." Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", no. 66 (December 28, 2022): 16–22. http://dx.doi.org/10.26565/2306-6687-2022-66-02.
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The article considers Ukrainian installation art. Artistic practices of installation represent one of the most interesting trends in world visual culture, which actively developed during the second half of the ХХ century and at the beginning of the ХХІ century. Installation is a relevant form of modern art, as it is focused on space and thus corresponds to an important guideline of modern culture — the spatial turn. It is proposed to consider the theory of installation by C. Bishop, according to which four types of installation can be distinguished: a phenomenological installation, de-subjectivizing installation, political installation, as well as a semiotic dream installation. According to Bishop's classification, the majority of Ukrainian art projects created in the installation technique are close to the semiotic dream installation. Ukrainian installation artists bring work with cultural meanings to the fore, rather than perceptual experience or anthropological experiments. There are several central figures in the Ukrainian art scene who create installations and present various artistic strategies in their projects. Through installation art, artist M. Kadan addresses the understanding of the Soviet past and its presence in the current experience of Ukrainian culture. Art meets research here. The artist refers to the cultural layers of the past to make sense of them outside the ideologemes of Soviet propaganda and reveal the “paresis of things” to the audience. The works by artist S. Petliuk develop the trend of media installation. Media technologies are actively used in the works of this trend. In his media installations, Petliuk deconstructs social and political ideologues, conducts “archaeological” explorations of modern urban space, addresses the question of comprehending war traumas, etc. Special attention is paid to the influence of the video installation on modern Ukrainian cinematography. The work of artist and film director I. Podolchak, who integrates the artistic principles of installation into his cinematographic works, is considered. An important trend of Ukrainian installation art is represented by the work of artist P. Makov. Makov's projects balance on the border between the culture of meaning and the culture of presence by filling his installation projects with deep cultural and political senses. It is determined that Ukrainian installation art combines the traditions of Ukrainian visual culture and innovative artistic practices and is an important component of the world artistic culture of the beginning of the ХХІ century.
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Galchynska, Olga, Liudomyr Filonenko, Rosslan Lozev, Mykhailo Sydor, and Valentyna Drotenko. "Public art as a driver of change: exploring its socio-political impact in the modern era." Revista Amazonia Investiga 13, no. 79 (July 30, 2024): 217–31. http://dx.doi.org/10.34069/ai/2024.79.07.17.
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This article explores the socio-political impact of public art installations. It interprets impact indicators, describes public art as a result of socio-political transformations, reveals the characteristics of national identity through public art, studies public art during war, and compares the symbolism of public art installations across different countries. The research employed a descriptive methodology, including literature analysis, visual and document analysis, theoretical assessment of impact indicators, historical and comparative analysis, and content analysis. The findings demonstrate that public art is a crucial cultural phenomenon that shapes collective memory, national identity, and cultural heritage. The study identifies various types of public art and highlights the growing popularity of digital and multimedia art. It also distinguishes impact indicators of public art installations and proves that public art plays a vital role in stimulating socio-political transformations, shaping cultural identity, advocating for positive change, increasing civic engagement, and addressing social justice issues. The research emphasizes the short-term and long-term effects of public art installations and pays special attention to their role during wartime.
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Chibalashvili, Asmati, Polina Kharchenko, Ruslana Bezuhla, Igor Savchuk, and Victor Sydorenko. "Interactive Sound Installation as an Implementation of Contemporary Communication Models." Postmodern Openings 13, no. 2 (June 24, 2022): 239–53. http://dx.doi.org/10.18662/po/13.2/451.
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Digitalization, virtualization, commercialization, loss of integrity, polystylistics, liberation from any norms are the latest trends that determine the development of contemporary art. They influence the functioning of modern communication models that evolve in accordance with the achievements of technology and acquire mobility, variability and interactivity. Interaction between social processes and scientific and technological achievements is increasing, the essence of communication in the space of modern culture is being rethought, particularly, the boundary between the types of art is being levelled. The latter phenomenon leads to the emergence of new instruments and methods of artistic creativity and expands the possibilities of artistic self-expression. One of the promising areas of artistic exploration is the creation of sound interactive installations. This paper proposes a classification of communication models that are based on the analysis of interactive sound installations. The classification is based on determining the degree to which audiences actions influence the final sound result of the creative action. The paper claims that the parameters of the exhibition space are important components of the installation’s structure and form. A dialogue with nature by way of incorporating sounds of nature, their imitations, and interpretations in art objects is found to be a current trend in interactive sound installations.
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Telesetsky, Anastasia. "Massachusetts Museum of Contemporary Art Foundation v. Christoph Büchel: An Appellate Perspective on the Visual Artists Rights Act." International Journal of Cultural Property 18, no. 2 (May 2011): 255–58. http://dx.doi.org/10.1017/s0940739111000105.
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When the U.S. Congress passed the Visual Artists Rights Act (VARA) in 1990, no legislator really anticipated that courts would be applying the act to art installations that were only half-finished. But this was the very challenge that the U.S. Appellate Court for the First Circuit faced in Massachusetts Museum of Contemporary Art Foundation, Inc. v. Christoph Büchel. Deliberating over a failed football-field-sized art installation wryly entitled “Training Ground for Democracy,” the appellate court was asked to determine whether VARA protected Swiss artist Büchel's moral rights in his half-finished work that if completed would have given viewers “training to be an immigrant, training to vote, protest, and revolt, training to loot, training [in] iconoclasm, training to join a political rally, training to be the objects of propaganda, training to be interrogated and detained and to be tried or to judge, training to reconstruct a disaster, training to be in conditions of suspended law, and training various other social and political behaviors.”
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Thompson, Nathan. "Black Field Plates: Emergent Ecologies in Sonic Art." Leonardo Music Journal 25 (December 2015): 96–98. http://dx.doi.org/10.1162/lmj_a_00946.
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Black Field Plates (2014) is a series of sound installations. The series is an investigation into the politics of emergent sound composition. By imitating the ways in which natural systems organize matter, these sound installations self-organize sound and compose music.
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Nyaiyonga, Blessings. "The Impact of Public Art Installations on Urban Recreation Spaces." International Journal of Arts, Recreation and Sports 3, no. 2 (June 3, 2024): 13–24. http://dx.doi.org/10.47941/ijars.1936.
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Purpose: This study sought to examine the impact of public art installations on urban recreation sports. Methodology: The study adopted a desktop research methodology. Desk research refers to secondary data or that which can be collected without fieldwork. Desk research is basically involved in collecting data from existing resources hence it is often considered a low cost technique as compared to field research, as the main cost is involved in executive’s time, telephone charges and directories. Thus, the study relied on already published studies, reports and statistics. This secondary data was easily accessed through the online journals and library. Findings: The findings reveal that there exists a contextual and methodological gap relating to public art installations on urban recreation sports. Preliminary empirical review revealed that public art installations significantly enhanced the aesthetic appeal, social cohesion, cultural vibrancy, and economic vitality of urban recreation spaces. Through a comprehensive analysis of literature and empirical studies, it was found that artworks such as sculptures, murals, and interactive installations transformed urban environments into dynamic and engaging settings, fostering a sense of place and community identity. Moreover, public art installations promoted social interaction, community engagement, and economic activity, attracting visitors and stimulating commercial development. The study emphasized the importance of sustainable and inclusive approaches to public art planning and programming to maximize its positive impact on urban environments. Unique Contribution to Theory, Practice and Policy: Environmental Psychology theory, Placemaking theory and Cultural Ecosysem Services theory may be used to anchor future studies on public art installations. The study suggested further research to deepen theoretical understanding and interdisciplinary frameworks for analyzing the role of public art. Practical implications included integrating public art into placemaking strategies, prioritizing community engagement, and adopting sustainable practices. Policy recommendations called for supportive frameworks, resource allocation, and awareness-building efforts to promote the social, cultural, and economic benefits of public art. Additionally, the study emphasized the importance of evaluation, community capacity building, and professional development to strengthen the implementation and impact of public art initiatives in urban recreation spaces.
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Sui, Guanglong, and Boonsom Yodmalee. "Exploring the Educational Potential of Immersive New Media Art in Urban Commercial Spaces in Dalian City, Liaoning Province, China." Journal of Education and Learning 13, no. 1 (January 20, 2024): 189. http://dx.doi.org/10.5539/jel.v13n1p189.
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Contemporary Chinese art has witnessed a transformative evolution in the realm of installation art, particularly in the context of immersive new media installations within urban commercial spaces. This study explores the educational potential of immersive new media art in urban commercial spaces in Dalian City, Liaoning Province, China. The research journey spans various stages of Dalian’s installation art development, from its early emergence in the 1980s to the prosperous period in the 1990s and its diversification in the 21st century. Key themes explored include the evolution of artistic expression, the impact on education, and the integration of new media in urban commercial spaces. The research site primarily focuses on Dalian’s cultural and commercial landscapes, with a spotlight on the Xiongdong Street project. The study employs a qualitative research methodology, combining field research, interviews, multimedia elements, and data analysis to offer comprehensive insights into the subject matter. Key informants include artists, scholars, and experts within the field of installation art. The research results reveal the dynamic evolution of Dalian’s installation art, its educational significance, and its integration into urban commercial spaces. The study suggests that immersive new media art has the potential to enrich art education, engage the public, and foster cultural and commercial development.
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Ekinci, Berivan. "Gender, action and expression in Pipilotti rist’s ever is over all video art." Global Journal of Arts Education 11, no. 2 (August 31, 2021): 131–40. http://dx.doi.org/10.18844/gjae.v11i2.6123.
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In this study, two channelled and coloured video installation called Ever is Over All dated 1997 by Pipilotti Rist’s being one of the artists who shaped video installations is analysed. In this installation produced by Pipilotti Rist as a woman artist, a woman in an entranced mood is shown smashing the glasses of some of the cars parked on the roadside. There is the vast space of the flower field on the one side and then there is a cheerful woman as the main character crashing the glasses of the parked cars on the roadside with a long stemmed flower just like from the field. The female body is especially important in audio and video installations of Rist. This installation by the artist has been assessed in terms of gender, action (movement), expression, freedom and solidarity. The flower used by the woman to smash the car glasses is considered over themes such as nature, life and woman and the fact that a passing by female police officer does not intervene in the situation and goes on her way just by greeting our heroine and smiling is assessed using concepts such as gender, action/movement, expression and freedom. In this research, the effects created by the medium of expression in art are touched upon in the video installation titled Ever is Over All and it has been concluded that the subjects and objects included in the video inspire the solidarity of woman, community and nature.
Keywords: video art, Pipilotti Rist, Gender-Action-Expression
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Cao, Yuan, Zhi Han, Rui Kong, Canlin Zhang, and Qiu Xie. "Technical Composition and Creation of Interactive Installation Art Works under the Background of Artificial Intelligence." Mathematical Problems in Engineering 2021 (September 25, 2021): 1–11. http://dx.doi.org/10.1155/2021/7227416.
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Interactive installation art is a kind of art that uses specific software and computer hardware as a platform, a platform for interaction between humans and machines or different people through computer hardware. It is an interactive art that uses material installations in nature as a medium. Traditional interactive installation art is not safe and convenient, in order to solve the shortcomings of traditional interactive installation art. This article introduces artificial intelligence technology by studying the overview, development, and application of artificial intelligence. The encryption algorithm for artificial intelligence data protection and the BP neural network prediction model under artificial intelligence are also introduced to ensure the safety of interactive installation art works. The part also introduces the creation tools and creation process of interactive installation art works. Finally, in the analysis part, a questionnaire analysis of the World Expo is carried out. The results of this article show that the art of connecting inserts is the most complete and open design era. Advances in science and technology, the development of digital art, and the needs of human life have led to the development of interconnected input technologies. In addition, in the survey of people’s satisfaction with artificial intelligence, we can conclude that 89% of people think that the security of artificial intelligence technology is very high. Yes, 92% of people think that artificial intelligence technology has a fast computing speed, 86% of people think that artificial intelligence technology is low in cost.
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Taviano, Stefania. "Translating Migration: Art Installations against Dehumanizing Labelling Practices." Languages 8, no. 3 (September 20, 2023): 221. http://dx.doi.org/10.3390/languages8030221.
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Migration is commonly described as a threat through images of invasion and flood in Western media. Migrants and asylum seekers tend to be the target of hate speech together with other vulnerable groups and minorities, such as disabled people, and definitions and labels have precise implications in terms of social justice and human rights. Migrant is an umbrella term used to refer to a variety of people who leave their countries of origin. Out-of-quota and dubliner are further labels, together with asylum seekers. Through an interdisciplinary approach, adopting a translation perspective on social justice, I would like to focus on the ways these labelling practices affect migrants’ and asylum seekers’ lives to the point of violating their rights. A clear example is represented by the English term dublined, translated as dublinati/dublinanti into Italian, and with no translation into German. It derives from the Dublin regulations, signed in 2013 and still valid, and indicates those people who want to apply for asylum in a given country but cannot do so because their fingerprints have been taken and registered in another EU country. Classifications of this kind, combined with further categorisations, such as “ordinary” or “vulnerable”, are applied throughout EU countries and languages to determine whether asylum seekers deserve, and are thus granted, asylum or not. They are informed by a dehumanizing view of migration and translate into “bordering practices” which prevent access to reception systems and welfare services. Resistant translation practices, a new language and art activism can contribute to reversing dehumanizing practices by putting displaced people’s identities at the centre. The Sicilian artist Antonio Foresta is the author of the installation Pace Nostra, a symbolic wave made of migrants’ clothes and Caltanissetta inhabitants’ bedsheets, with both an Italian and Arabic title, which translates migration, commonly perceived as “their” drama, into “our” drama, a common human experience, leading to a common goal: peace.
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Weingarden, Lauren S. "The performative turn at Inhotim: installation art and Baudelairean modernity." Aletria: Revista de Estudos de Literatura 23, no. 3 (December 31, 2013): 13–30. http://dx.doi.org/10.17851/2317-2096.23.3.13-30.
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This article explores the participatory turn in installation art as part of a trajectory from Baudelairean modernity to twentyfirst-century postmodernity, as represented at Inhotim, the outdoor contemporary art museum and botanical gardens in Brumadinho, MG. In his 1862 essay “The Painter of Modern Life,” Charles Baudelaire defined modernity as fleeting, transitory and fragmentary. Baudelairean modernity initiated a breakdown of boundaries between art and life and between high art aesthetics and popular culture, which continues in the work of installation artists. In the sites of installation art, the spectator is compelled to extend – rather than complete – the work of art in his/her own time, prior experiential encounters and transformative afterthoughts. The shift from the isolated work of art to the experiential one not only complicates how and where works of art are viewed, but also radicalizes the materials that constitute the work of art – whether those materials are extracted from the quotidian sphere or complex technologies, each undergoes a process of defamiliarization and reactivation to produce the transformative aesthetic experience. The individual installations in Inhotim’s “outdoor museum” engage the spectator in a dynamic/participatory experience with spatial, temporal and material relationships that define the very essence of art’s reciprocity, or contrast with the natural and man-made worlds. It is the rarefied setting of Inhotim’s botanical gardens that makes the participatory and transformative experience central to the aesthetic encounter with installation art.
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Bahtsetzis, Sotirios. "Deleuze’s meta-cinematic framing: Multimodal meaning-making in Installation Art." Punctum. International Journal of Semiotics 08, no. 02 (2022): 11–31. http://dx.doi.org/10.18680/hss.2022.0014.
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The article discusses multimodal meaning-making in the context of video and multi-media installation art and related curatorial practices. It draws on the Deleuzian concept of pure duration or ‘time-image,’ understood as a Foucauldian dispositive (Panagia) and, thus, as a broader heuristic device in discussing the viewer’s experience engulfed in installations. It discusses non-discursive aspects of meaning-making while focusing on the viewer/ participant’s subjectifying, multi-sensorial, kinaesthetic, performative, and time-based experience of an exhibition. We discuss installation art as a temporal situation, constructed on the difference between represented or narrated time and subjective or reception time (Petersen), following the phenomenological category of the artwork as a ‘temporal object’ (Ingarden). The paper aims to offer novel interpretive tools for investigating our current shifting sensorium engaged in meaning-making. It also maintains that installation art constitutes not only a compelling cultural strategy for “imagining and imaging the world” (Rodowick) but also the means to understand how modes of perception converge in producing subjectivity.
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Chekh, Natalia. "‘NON-PHOTOGRAPHIC’: SERGIY BRATKOV AND BORIS MIKHAILOV." Doxa, no. 1(37) (July 5, 2023): 118–37. http://dx.doi.org/10.18524/2410-2601.2022.1(37).281827.
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The article analyzes the play prerequisites for the creation, methods of implementation and conditions of perception of B. Mіkhaіlov’s and S. Bratkov’s works — multimedia installations ‘Sacrifice to the God of War’ and ‘Box for Three Letters’, presented in the exhibition project ‘Alchemical Surrender’ of the Soros Center for Contemporary Art in Sevastopol in 1994. As a result of the research, it was found that S. Bratkov and B. Mikhaіlov had chosen ‘non-photographic’ as an artistic language for the project ‘Alchemical surrender’ — the language of carnival forms and carnival symbols. The multimedia installation ‘Sacrifice to the God of War’ combines the following forms of folk ridiculous carnival culture: theatrical and spectacular forms — happening, recorded on video, and three art objects — assemblages created on the basis of photographic images. The multimedia installation ‘A Box for Three Letters’ combines different forms of folk ridiculous carnival culture: theatrical and spectacular forms — happening recorded on video, art objects (box, board, etc.); verbal-laughter work — a parodic statement depicted on the board, as well as one of the forms of familiar-square speech. In both installations, the mythology of matriarchy gets its generalization and completion in the ambivalent image of the Big Mother — Mother Earth. The author managed to show the applicability of the M. Bakhtin’s concept of ‘culture of popular laughter’, as well as the O. Losev’s hermeneutics of the ancient myth, etc. as a critical discourses for the analysis of works and projects of contemporary art, for example, as the project Kiev SCCA ‘Alchemical surrender’ (1994).
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Fomenko, Andrey N. "ROAD ART: THE VIDEO INSTALLATIONS OF GULNARA KASMALIEVA AND MURATBEK DZHUMALIYEV." Articult, no. 3 (2022): 51–55. http://dx.doi.org/10.28995/2227-6165-2022-3-51-55.
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The works of Gulnara Kasmalieva and Muratbek Dzhumaliyev, contemporary artists from Kyrgyzstan, are considered by Andrey Fomenko in the context of current processes in post-Soviet art, including the request for factography, as well as “orientalist” aestheticization of national and cultural identity of an artist. The video installations of Kasmaliyeva and Dzhumaliyev, outwardly strictly documentary and “anti-romantic”, are in fact far from being so unambiguous in their implications and can be interpreted as a resuscitation of romantic values at a new level of reflection.
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Urbanowicz, Katarzyna, and Lucyna Nyka. "MEDIA ARCHITECTURE AND INTERACTIVE ART INSTALLATIONS STIMULATING HUMAN INVOLVEMENT AND ACTIVITIES IN PUBLIC SPACES." CBU International Conference Proceedings 4 (September 19, 2016): 591–96. http://dx.doi.org/10.12955/cbup.v4.819.
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This paper examines the potential for media architecture and interactive art installations to stimulate human involvement and activities in public spaces. On the basis of theoretical approaches, case studies and interdisciplinary surveys, the paper provides insight into how screens projecting media and interactive installations in city spaces can inspire people to become active on many levels. The research is focused, both on temporary and permanent art installations, that support new technologies to encourage people to interact with art objects and become actors in an urban performance. Media and interactive art can positively contribute to the urban landscape, foster public involvement, increase intensity of public life, and effectively enhance the identity of urban communities. The paper shows that, despite this potential for media architecture and interactive art projects, specific pre-conditions are needed for their success in urban environments. The paper focuses on the convergence of scale between the intervention itself and the assumed urban strategy, as well as on the time allowed for individual perception and active participation of people in the particular urban art scenario. As the research shows, the promotion of art pieces, through guided tours of the city, tends to reduce the perception of the installations themselves and almost excludes social interactions. Thus, while not so spectacular in scale, image, or number of visits, modest interventions that involve locals and allow time for relationship building between people, could be most effective in reaching urban renewal objectives.
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Grillotti, Richard, Andy DiLallo, and Angus G. Forbes. "Resonant Waves: Immersed in Geometry." Leonardo 53, no. 4 (July 2020): 401–7. http://dx.doi.org/10.1162/leon_a_01926.
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This article introduces Resonant Waves, a work of interactive new media art that incorporates cymatic patterns into an immersive installation. The authors describe their research and design process in creating Resonant Waves, and they discuss technical details about the installation, highlighting innovative aspects of the project and contextualizing the project in terms of previous cymatics research and related artistic explorations of complex phenomena. Finally, the authors discuss audience reaction to different installations of the project and identify directions for future research in immersive cymatics.
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Maithani, Charu. "Screens as Gestures in Interactive Art Assemblage." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 147. http://dx.doi.org/10.25038/am.v0i17.278.
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The interaction in the contemporary media art installations can be viewed as a process of transformation as the parts of the installation engage and respond to each other. This paper considers interactive media art as assemblages and argues screens to be gestures of this assemblage. The screens activate and rearrange the relations between the elements of the assemblage by providing multiple connections between them. By examining two artworks, Breath (1991/92) by Ulrike Gabriel and Shadow 3 (2007) by Shilpa Gupta, the paper extrapolates the aesthetic experiences gestured by the screens. Article received: April 25, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Preliminary report – Short CommunicationsHow to cite this article: Maithani, Charu. "Screens as Gestures in Interactive Art Assemblage." AM Journal of Art and Media Studies 17 (2018): 147−155. doi: 10.25038/am.v0i17.278
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Rose, Ethan. "Translating Transformations: Object-Based Sound Installations." Leonardo Music Journal 23 (December 2013): 65–69. http://dx.doi.org/10.1162/lmj_a_00157.
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This paper defines the object-based sound installation as a distinct category of sound art that emerges from the intersection of live musical performance and the sonic possibilities of the recording studio. In order to contextualize this emergent category, connections are drawn among the rationalization of the senses, automated musical instruments, the lineage of recorded sound and the notion of absolute music. This interwoven history provides the necessary backdrop for the interpretation of three major works by Steven Reich, Alvin Lucier and Zimoun. These respective pieces are described in order to elucidate the ways in which object-based sound installations introduce embodied visibility into the transformative gestures of sound reproduction.
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Moura, Lazaro Elizeu, and Cláudio Lima Ferreira. "Artistic installations in cities: the contemporary art by Henrique Oliveira, Regina Silveira and Ernesto Neto, raising sensitive awareness in people in daily urban lives." CONTRIBUCIONES A LAS CIENCIAS SOCIALES 17, no. 2 (February 16, 2024): e5169. http://dx.doi.org/10.55905/revconv.17n.2-126.
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This article analyzes some artistic installations, designed for spaces within cities, expanding their field of exhibition, awakening the sensitive nature of people who live or walk in urban centers. The study highlights the frequent problems that affect cities, causing discomfort to the population, therefore, it observes the importance of contemporary art, which is installed in spaces and environments, as an efficient element to interpret aspects of daily life, through awareness and visual poetry. Therefore, three art installations were selected, produced by three Brazilian visual artists, such as Henrique Oliveira, Regina Silveira e Ernesto Neto, respectively in these cities: Porto Alegre/RS – 2009, São Paulo/SP – 2010 and Zurich/Germany – 2018. The choice and their respective artworks proposals, composed of distinct aesthetic characteristics and several materials, exemplifies the diversity of languages that contemporary art provides, precisely when the art installations are exhibited in cities, particularly in places where artists can create attractive artworks interacting with the public. Through critical comments regarding the chosen artistic works, the text introduces the magnitude of contemporary art as an object of multiple readings, capable of instigating and suggesting reflections. It concludes by highlighting the relevance of art as an element that reflects and interprets the world in constant transformation, re-educating and expanding the cultural repertoire, above all, showing how the artistic installations contribute to cities, raising sensitive awareness of the people in the face of problems that impact urban lives.
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Nae, Oana Maria. "3. Interactivity as Artistic Mediation System. Installation and Participative Projects." Review of Artistic Education 1, no. 24 (April 1, 2022): 185–93. http://dx.doi.org/10.2478/rae-2022-0023.
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Abstract The first official step toward active participation and interaction was made by John Cage, Allan Kaprow, George Brecht, and other artists connected to the happening and Fluxus movements from 1950-1960. Since than the conceptual art maximizes the importance given to the shape and interaction as an artistic product. Essentially, the installations named environmental art bring before the visitor of the exhibition, the viewer, the entire sensory experience, more than the canvas centered on a “neutral” wall or on isolated objects on a pedestal. Analyzing some of this art works we discover that the installations leave the space and time in their usual size with a desire to highlight and understand the experience in a critical manner. This involves dissolving the border between art and life. These interactive installations have been succeeded in the next decade of participatory projects which supported the idea of reflection on the relationship of the individual with technology and the others, but also explored it with other resources, even more direct.
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Lacey, Jordan. "Sonic Placemaking: Three approaches and ten attributes for the creation of enduring urban sound art installations." Organised Sound 21, no. 2 (June 30, 2016): 147–59. http://dx.doi.org/10.1017/s1355771816000078.
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This article investigates the approaches and attributes of publicly situated sound installations which have achieved the status of permanency, and have attracted ongoing local, and even international, visitors. The article draws on international fieldwork in 2015 that documented several enduring sound installations in the United States, UK and Europe. Through an inductive process including listening exercises, sound recordings, observations and interviews, the analysis identifies three approaches to creating sound installations and ten attributes of operative sound installations. It is argued that by encouraging public listening, the discussed sound installations successfully establish a sensory connection between people and their environments. By extension, it is argued that this emergent sense of place is commensurate with the installations’ capacity to augment a pre-existing ‘spirit of place’. These findings culminate in a sonic placemaking tool for situating sound art installations in urban spaces. It is suggested that urban planners and designers can apply the presented sonic placemaking tool to augment a site’s spirit of place, thereby affecting new experiences in everyday urban life.
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Küttel, Nora Mariella. "Material agency in art installations: exploring the interplay of art, space, and materials in Detroit." Geographica Helvetica 79, no. 2 (May 13, 2024): 149–60. http://dx.doi.org/10.5194/gh-79-149-2024.
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Abstract. Decades of decline, disinvestment, and racism have left Detroit with an abundance of abandoned buildings, ruins, vacant lots, and illicit trash dumps. Though these structures and materials might have forfeited their previous purposes, they can act as catalysts, substances, and co-creators of artworks. The paper is thus interested in examining the intricate interplay between art, space, and materiality in Detroit further. Drawing from the practices of local artists Olayami Dabls and Scott Hocking, the paper adopts a new materialist framework to investigate the dynamic agency of matter in the artistic process. By considering materials as active participants in the production of art and space, the paper seeks to add to the emerging interest in the emancipation and meaning making of material in art as well as cultural geography's engagements with new materialism.
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Abdullah, Sarena. "Changing Approaches: Installations Produced in the Malaysian Art World." Wacana Seni Journal of Arts Discourse 16 (2017): 1–34. http://dx.doi.org/10.21315/ws2017.16.1.
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Mukherjee, Madhuja. "Material, history, arguments: unidentified publicity images and art-installations." Inter-Asia Cultural Studies 15, no. 1 (January 2, 2014): 113–27. http://dx.doi.org/10.1080/14649373.2014.871774.
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Anghel, Anamaria Andreea, Irina Mohora, Alma-Dia Preda (Hapenciuc), Diana Giurea, and Flaviu Mihai Frigura-Iliasa. "ENVIRONMENTAL TENDENCIES IN MODULAR GREEN INSTALLATIONS." Journal of Green Building 14, no. 4 (September 2019): 195–221. http://dx.doi.org/10.3992/1943-4618.14.4.195.
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There are two main approaches when discussing living green walls: an ecological one and an artistic one. Ecological thinking mainly considers environmental aspects, comfort enhancement and energy consumption and oversees human interaction and actual proximity to plants. In opposition, art or architecture installations that involve vegetation, lack technical and ecological aspects, aiming to raise awareness on environmental issues using human interaction either physically (direct) or emotionally (indirect). The present paper aims to analyze methods of combining the two directions, in a functional, ecological, yet aesthetically pleasing composition. In order to further develop previous experiences gathered by the team members, authors of this article, a green installation concept made out of interactive modular systems unites all the knowledge into a new, living, moving, dynamic, interactive structure whose inspiration is taken from nature while using biomimicry as main principle for its development. This new concept responds and is influenced by both external, natural stimuli and by the human factor. Multidisciplinarity is a key element in developing this project, involving architecture, art, interior and landscape design, botany, geometry, mechanical and electrical engineering, leading towards new research directions and innovative approaches in greenery—interior environment connections.
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Di Maro, Daniela, Andrea Bene, Diego Bernini, Simone Bonetti, Giorgio De Michelis, Francesco Tisato, and Gianluca Colombo. "Anastatica Sensibile - Grounding Interactivity on a Natural Process." Leonardo 47, no. 5 (October 2014): 502–3. http://dx.doi.org/10.1162/leon_a_00823.
Full textAbstract:
Interactive artistic installations represent avant-garde forms of Contemporary Art. They are artistic works able to change their behavior in response to the behavior of the viewers, turning them into (more or less) active participants. This paper discusses an interactive installation the authors developed during the beginning of 2012 for the St. Elmo Castle in Naples, Italy. In this installation the audience determines the evolution of the life cycle of specific plants, in terms of an opening/closing process. The paper proposes some reflections on this case study, especially about the engagement dimension promoted by the work.