Journal articles on the topic 'Performance and Installation Art'
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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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Yang, Dong, Kun Yuan, and Xiao Dong Liu. "Thinking Development of Fiber Art due to Installation Art." Advanced Materials Research 332-334 (September 2011): 1223–26. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.1223.
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Although installation art and fiber art are two different modern art categories, as they are both based on sculpt of materials instead of portray, they are usually connected together. With consideration on design, existence form and material concept of installation art, this paper discusses the expansion and performance of these methods in fiber art creation.
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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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John Charles Ryan. "Plant-Art: The Virtual and the Vegetal in Contemporary Performance and Installation Art." Resilience: A Journal of the Environmental Humanities 2, no. 3 (2015): 40. http://dx.doi.org/10.5250/resilience.2.3.0040.
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REBELO, PEDRO. "Performing space." Organised Sound 8, no. 2 (August 2003): 181–86. http://dx.doi.org/10.1017/s1355771803000086.
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This article discusses how the notion of performance provides impetus for the design of interactive digital environments. These environments can ultimately be regarded as user-spaces; a condition which replaces the ‘fixed’ art-object with a configuration of interactions. Our understanding of space, as suggested by Lefevbre (2001), defines the ‘inhabitant’ as a full participant, a user, a performer of space. What is at play when the installation artist designs environments that invite performative exploration? The issue of improvised performance in the inhabiting of installation spaces is exposed. Two interactive installations by the author and works by others in the field provide a context for discussion and analysis.
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ARFARA, KATIA. "Denaturalizing Time: On Kris Verdonck's Performative Installation End." Theatre Research International 39, no. 1 (February 10, 2014): 47–56. http://dx.doi.org/10.1017/s0307883313000540.
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Originating from the avant-garde's attempt to supplant the structural limitations of perspective which ‘bound the spectator to a single point of view’, installation art emerged during the 1960s and the 1970s as a critique of the pure, self-referential work of art. Belgian artist Kris Verdonck integrates that modernist debate into his hybrid practice of performative installation. Trained in visual arts, architecture and theatre, Verdonck uses sophisticated technological devices in order to blur binary distinctions such as time- and space-art, inanimate and animate figures, and immateriality and materiality. This study focuses on End (Brussels 2008), which shows the possible final stages of a human society in ten scenes. I analyse End as an echo of the Futurists’ performance tactics, which prefigured a broadening of the formal aesthetic boundaries of performance art under the major influence of Henri Bergson's theory of time.
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Giunta, Andrea. "Archives, Performance, and Resistance in Uruguayan Art Under Dictatorship." Representations 136, no. 1 (2016): 36–53. http://dx.doi.org/10.1525/rep.2016.136.1.36.
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Hartblay, Cassandra. "This is not thick description: Conceptual art installation as ethnographic process." Ethnography 19, no. 2 (August 21, 2017): 153–82. http://dx.doi.org/10.1177/1466138117726191.
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What happens when an ethnographer takes up the idiom of contemporary art installation to explore an ethnographic problem? Building on performance ethnography as developed by Dwight Conquergood and D. Soyini Madison, in which the research process itself is cultural performance, this article describes a methodological innovation that encourages a rethinking of ethnographic outputs. Contemporary art installation is generative as well as representational, and challenges ethnographers to think by doing. This article describes one such project to show that while a minimalist installation aesthetic does not on the surface constitute ‘thick description’ in the Geertzian sense, it can be a generative part of a dialogic practice of ethnographic knowledge production. Integrating the interpretive tradition with feminist disability studies, my argument is that art installation offers a possible mode for ethnographers to work through ideas, solicit participation from academic audiences and research participants, create semiotic relationships, and come to know by doing.
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Zemel, Carol. "In the Mosaic: Jewish Identities in Canadian Performance and Installation Art." Canadian Theatre Review 153 (January 2013): 13–19. http://dx.doi.org/10.3138/ctr.153.003.
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Zemel, Carol. "In the Mosaic: Jewish Identities in Canadian Performance and Installation Art." Canadian Theatre Review 153, no. 1 (2013): 13–19. http://dx.doi.org/10.1353/ctr.2013.0008.
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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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Mitchell, Thomas, Joseph Hyde, Philip Tew, and David R. Glowacki. "danceroom Spectroscopy: At the Frontiers of Physics, Performance, Interactive Art and Technology." Leonardo 49, no. 2 (April 2016): 138–47. http://dx.doi.org/10.1162/leon_a_00924.
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danceroom Spectroscopy is an interactive audiovisual art installation and performance system driven by rigorous algorithms commonly used to simulate and analyze nanoscale atomic dynamics. danceroom Spectroscopy interprets humans as “energy landscapes,” resulting in an interactive system in which human energy fields are embedded within a simulation of thousands of atoms. Users are able to sculpt the atomic dynamics using their movements and experience their interactions visually and sonically in real time. danceroom Spectroscopy has so far been deployed as both an interactive sci-art installation and as the platform for a dance performance called Hidden Fields.
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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.
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Fendulova, Yanitsa. "Performative and Installative Spaces." Visual Studies 6, no. 1 (June 29, 2022): 68–79. http://dx.doi.org/10.54664/lpqm4289.
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The article consists of an analysis of two Bulgarian contemporary artworks: by Simeon Stoilov and Atanas Totlyakov from 2021. In addition, the text discusses а work of the author, Yanitsa Fendulova, from the same year, realized as a result of a practical research in the field of performance art. The article is part of a larger study discussing the performative dimensions and values of installation works of art, the term “performative installation”.
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Osborne, P. "Installation, performance, or what?" Oxford Art Journal 24, no. 2 (February 1, 2001): 145–54. http://dx.doi.org/10.1093/oaj/24.2.145.
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Vanderbeeken, Robrecht. "Relive the Virtual: an Analysis of Unplugged Performance Installations." New Theatre Quarterly 26, no. 4 (November 2010): 361–68. http://dx.doi.org/10.1017/s0266464x10000667.
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Can retro media make us relive the virtual from digital media? Following McLuhan's thesis that the proper characteristics of a medium are revealed through remediation, it could well be that retro media re-enacting digital media can make explicit what the concept ‘virtual’ entails. Two recent works analyzed in this article take as their starting point antique theatrical techniques (the ballet pulley, the panorama) to evoke optical illusions, not to stage another illusion but for other purposes. Both works, which have no actual connection with cyberspace, include non-narrative interplay with antiquated technological installations that generate a challenging experience for the contemporary spectator in a digital era. The performance-installation I / II / III / IIII by Kris Verdonck stages a repetition in time in which the viewer gets trapped. By reviving virtual features into real ones and presenting them in replay-mode, the viewer discovers how a variation of sameness can evoke significant differences, or how identity arises due to a repetition in time. Hans Op de Beeck's installation Location (6) displays an all-round view in a real but generic space that induces the spectator's performative power – like an avatar, able to dwell in the virtuality of personal imagination. Robrecht Vanderbeeken has published on a variety of topics, including metaphysics, philosophy of technology, and aesthetics. Formerly a researcher in the Theory Department of the Jan van Eyck Academy, he now teaches at the Royal Academy of Fine Art at University College Ghent (KASK), and is currently researching the philosophical implications of technological innovations in art and culture.
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Schneemann, Carolee. "Aphrodite Speaks: on the Recent Performance Art of Carolee Schneemann." New Theatre Quarterly 16, no. 2 (May 2000): 155–62. http://dx.doi.org/10.1017/s0266464x00013671.
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The work of Carolee Schneemann, who celebrated her sixtieth birthday last year, has from the first challenged suppressive sexual and other taboos, and placed her own body as an artist into a fluent relationship with her art. She both pioneered and in her new work continues to energize forms of what we now call performance art. The retrospective of her works from 1963 to 1996, recently seen at the New Museum of Contemporary Art, New York, affirmed her recognition as a major artist – yet threatened also to ‘fix’ her art, which remains very much ‘in progress’. The exhibition included the installation Mortal Coils (1993–94), in which a slide projection system is combined with motorized ropes, flour, and sand to explore taboos of death and loss; Up to and Including Her Limits (1979), a video installation depicting the actions which produced surrounding wall drawings; and Video Rocks (1989), in which a hundred hand-sculptured rocks merge into a wall of seven monitors on which feet walk back and forth over virtual rocks. Vulva's Morphia (1995), a colour grid of photographs with text and motorized components, was exhibited at the Pompidou Centre in 1995, and her multi-media installation Known/Unknown – Plague Column (1996), was seen in New York and Montreal in 1996. Schneemann's published books include Parts of a Body: House Book (1972); Cézanne, She Was a Great Painter (1976); ABC: We Print Anything – in the Cards (1977); Video Burn (1992); and More Than Meat Joy: Performance Works and Selected Writings (1997). Her Body Politics: Notes and Essays of Carolee Schneemann is forthcoming from MIT Press, and a selection of her letters from Johns Hopkins University Press. Alison Oddey, Professor of Drama at Loughborough University, interviewed Carolee Schneemann on 29 August 1997 in her Manhattan loft in New York, and what follows is an edited version of that interview, which focuses on her more recent performative work.
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Turim, Maureen. "Marina Abramović's Performance: Stresses on the Body and Psyche in Installation Art." Camera Obscura: Feminism, Culture, and Media Studies 18, no. 3 (2003): 99–117. http://dx.doi.org/10.1215/02705346-18-3_54-99.
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Lock, Simon, and Stewart Kember. "A support architecture for high dependability in digital performance and installation art." International Journal of Performance Arts and Digital Media 2, no. 1 (June 2006): 87–101. http://dx.doi.org/10.1386/padm.2.1.87/1.
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Padyan, Yu Yu. "PERFORMANCE AS A CONTEMPORARY ART PHENOMENON." Arts education and science 1, no. 1 (2021): 148–56. http://dx.doi.org/10.36871/hon.202101017.
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The end of the XIXth — beginning of the XXth centuries is a special period in the history of world art culture, characterized by the emergence of such trends as modernism, post-impressionism, avant-gardism, abstractionism, cubism, surrealism and many others. The motto of XXth-century art was "Art into Life". Often new trends became a response to the demand of the mass consumer. One of them was the art of performance. Appearing as a rejection of traditional practices of painting, sculpture and theater, performance organically incorporated wellknown and new approaches and technologies that caused an alternative way of working with space and time. It should be noted that historiography focuses on materials that explore the origins of performance and installation on a global scale. The most significant are the works by American, Western European and Polish authors. At the same time, the historiographic review showed a lack of a large scientific heritage of Russian artists in the field of performance: the process of forming modern art criticism, which would reflect the later history of performance than the first half of the XXth century, is still out of the researchers' sight.
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Farley, Kathryn. "Digital Performance: A History of New Media in Theatre, Dance, Performance Art, and Installation (review)." Theatre Journal 59, no. 4 (2008): 690–91. http://dx.doi.org/10.1353/tj.2008.0003.
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Crosby, Jill Flanders, Brian Jeffery, Marianne Kim, and Susan Matthews. "Secrets Under the Skin: Blurred Boundaries, Shifting Enactments, and Repositioning in Research-Based Dance in Ghana and Cuba." Congress on Research in Dance Conference Proceedings 2014 (2014): 59–69. http://dx.doi.org/10.1017/cor.2014.10.
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This roundtable reflects on the processes of de-centering from multiple lenses and temporal placements inside the research and creative process. It is based on a collaborative, intermedia, and multitemporal contemporary performance/art installation informed by long-term ethnographic research of dance and ritual in Ghana and Cuba. Roundtable participants will excavate the process of conducting the research and creating the installation that continues to exhibit internationally at venues ranging from art galleries and libraries to rural research field sites. The installation offers a matrix of layered artistic exploration grounded in ethnographic inquiry that does not sit squarely inside a singular discipline. Inherently transdisciplinary, with multiple entanglements and porous boundaries, it offers “interpretive frictions” at the borders of ethnography, performance, material culture, research-based choreography, and embodiment of lived experience.
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Cross, David. "On task: De-Limit, dance and the performance of menial action." Choreographic Practices 12, no. 2 (December 1, 2021): 135–51. http://dx.doi.org/10.1386/chor_00033_1.
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Reflecting on a specific case study commissioned for the 2020 Keir Choreographic Awards in Australia, this text investigates how the work De-Limit sought to negotiate the relationship between menial, process-driven labour and dance/installation art. Developed as a collaboration between dance maker Alison Currie and visual artist David Cross, the work interrogated how Walter Benjamin’s and Martin Heidegger’s ideas on boredom and suspended time, respectively, might offer new considerations of task-based practice. This study specifically seeks to test key thresholds in relation to task-orientated discourse with the insertion of a series of counter-moments informed by Freud’s thinking around the uncanny. Playing with ideas of staging and set making at the intersection of art and dance, this text also seeks to interrogate how the building of an art installation offers a frame in which to understand dance and its assorted modalities in different ways. De-Limit slips between functional and abstract, exploring live action as an unstable liminal space between labour and performance.
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Katrak, Ketu H. "Legacies of Loss and Trauma, Healing and Redemption: Cape Town Live Art Festival." TDR/The Drama Review 63, no. 4 (December 2019): 172–80. http://dx.doi.org/10.1162/dram_a_00882.
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Performance, installation, and African-based ritual represent the body as a site of subversion, sexuality, and healing at the 2018 Cape Town Live Art Festival. Provocative performances are located in sites across the city — the Cape Coast Castle (with its 19th-century slave-holding dungeons), a warehouse, a museum, a railway station, and the library.
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Kuppers, Petra. "Outsider Histories, Insider Artists, Cross-Cultural Ensembles: Visiting with Disability Presences in Contemporary Art Environments." TDR/The Drama Review 58, no. 2 (June 2014): 33–50. http://dx.doi.org/10.1162/dram_a_00345.
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Disability is highly visible in contemporary performance festivals and art venues. Traveling from the disability performance ensemble work of Theater Hora and Jérôme Bel, to Javier Telléz's installation Artaud's Cave at dOCUMENTA(13) in Kassel, and on to the Australian Back to Back Theatre's Ganesh versus the Third Reich at the Bodies of Work festival in Chicago raises the pressing questions: How and why is disability art and performance becoming so visible? And for whom?
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Mohd Sharif, Shahida, Izyan Ayuni Mohamad Selamat, and Januarius Gobilik. "STUDENTS EMPOWERMENT IN CAMPUS SUSTAINABILITY THROUGH ART INSTALLATION PROJECT." Journal of BIMP-EAGA Regional Development 3, no. 1 (December 15, 2017): 64–77. http://dx.doi.org/10.51200/jbimpeagard.v3i1.1031.
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Campus sustainability is a movement that requires a significant engagement from various campus stakeholders. Students as the biggest stakeholders have to play a meaningful role as the implementers, and academicians, on another side, must feel free to address campus sustainability issues and inspire the students to get involved in making the campus sustainability movement a reality. In 2013, Universiti Malaysia Sabah established an EcoCampus Management Centre to lead the sustainability movement to a higher level. The goal of the university is becoming an EcoCampus by 2018. Thus, in parallel with the goal of the movement, the Horticulture and Landscaping Programme (HG35), Faculty of Sustainable Agriculture (FSA), UMS has set out one of the Programme learning outcomes as to produce graduates who could grasp the concepts and principles of sustainable horticulture and landscaping. Several HG35 academicians and Key Persons appointed by the UMS authority had implemented the EcoCampus Core Values and Key Elements in teaching and learning activities. In this paper, the authors share their experience in integrating the sustainability movement in teaching and learning process for Garden Planning and Management course. A project-based learning (PBL) named EcoProject was structured to empower the students of the course to create something that could achieve the goal of the sustainability movement and most importantly is meaningful to them. The assessment is designed to allow the students (1) to integrate a variety of knowledge and skills pertaining to horticulture and landscaping in their projects, 2) to give a platform to the students to explore and adopt a sustainable initiative in FSA campus creatively, and 3) to foster a sense of belonging to the sustainability movement introduced by the University. The performance of the students was then evaluated using a Likert scale. At the end of the project, the students produced several distinctive art installations, for example, a lath house, that is, a shelter made of 1000 recycled 1.5L transparent plastic water bottles functioning as a plant nursery especially for acclimatising young seedlings before field planting. The EcoProject assessment had demonstrated that sustainability movement could be harmoniously integrated into teaching and learning activities in higher education institutions. The project had inspired the students to be creative and confident to engage in a sustainability movement, and this experience is expected to stay with them once graduated.Â
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Chaberski, Mateusz. "Thomas Shadwell’s the Virtuoso as an Assemblage Laboratory. A View from Installation Art." Art History & Criticism 13, no. 1 (December 1, 2017): 111–22. http://dx.doi.org/10.1515/mik-2017-0008.
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Summary The contemporary landscape of performing arts becomes more and more populated by hybrid genres or “artistic installations” (Rebentisch) which fuse traditional artistic, theatrical and performance practices with scientific procedures, political activism and designing new technologies (e.g. bioart, technoart, digital art and site-specific performance). In this context, theatre texts can no longer be perceived as autopoietic means of solely artistic expression but become part of an assemblage of different discourses and practices. As contemporary assemblage theory contends (DeLanda), assemblages are relational entities which change dramatically depending on relations between its different human and nonhuman elements and various contexts in which they function. Taking the contemporary installation art as a vantage point, this paper aims to analyse a Restoration comedy The Virtuoso (1676) by Thomas Shadwell in an assemblage of theatrical, scientific and political discourses and practices of Early Modern England. Staged in Dorset Gardens theatre in London, the play mobilised a plethora of discourses of science (the status of experimental philosophy institutionalized in 1660 as the Royal Society), politics (Restoration of the monarchy under Charles II) and gender (the infamous heac vir or effeminate man). Drawing on contemporary new materialism, the paper focuses predominantly on Shadwell’s use of the laboratory as a site of emerging assemblages rather than objective matters of fact. In this context, the play itself becomes an assemblage laboratory where new ways of thinking and being are being forged and constantly negotiated.
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PURKAYASTHA, PRARTHANA. "Visuality, Sonicity and Corporeality in Installation Art: A Conversation with Jun Nguyen-Hatsushiba." Theatre Research International 46, no. 2 (July 2021): 200–208. http://dx.doi.org/10.1017/s0307883321000109.
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This conversation paper examines the visual, sonic and corporeal entanglements that inform the work of the Vietnamese-American-Japanese artist Jun Nguyen-Hatsushiba. It explores the corporeal and aural qualities that are central to an understanding and sensorial experience of the artist's installations and visual practice. In paying attention to breath, sound and motion in visual art production, Jun Nguyen-Hatsushiba's works reveal how corporeality and sonicity can dismantle the ocular-centrism of visual art. The discussions between Jun and Prarthana map the varied traumatic histories of racial colonialism, war and forced migration that haunt Vietnam's present, and bring to the surface the artist's aesthetic and political concerns around art, performance and cultural memory.
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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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White, Wendy, and Clare Hemmings. "KULTUR: showcasing art through institutional repositories." Art Libraries Journal 35, no. 3 (2010): 30–34. http://dx.doi.org/10.1017/s0307472200016515.
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Showcasing work has always been at the heart of the arts community, whether it be through an exhibition, site-specific installation or performance. Representation of the original work has also been important and use of print-based options like exhibition catalogues is now complemented by websites and multimedia friendly services like Flickr and YouTube and Vimeo. These services also provide options for sharing born-digital material. For those working in higher education there is a need to profile both the personal and the institutional aspects of creative outputs. The KULTUR project created a model for arts-based institutional repositories and it is hoped that this approach will be useful for other arts institutions.
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Chapakdee, Thanom. "Art of Engagement: Visual Art of Thailand in Global Contexts." International Journal of Creative and Arts Studies 3, no. 1 (December 29, 2017): 21. http://dx.doi.org/10.24821/ijcas.v3i1.1832.
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This paper on the topic of Art of Engagement: Visual Art of Thailand in Global Contexts, attempts to explore that “global contexts” is transformed because of the impacts rapid change in economics, politics, society and culture. Globalization based on the notion of Global art and transform Thai art scene into the state of international art movement such as Installation art, Performance art, Community art, i.e. these movement becomes the mainstream of art since 1980s. This kind of movement which artist has created the art objects, space, time and sphere as a model of sociability which audiences can participate with people in community as relational art practice. The relational art becomes the space of exchange and participants can share experienced of taste, aesthetic, criticism which it’s related to art objects and sphere of community. This paper will explains that relational art is in the process of art of engagement. That is why art has become the community engagement which art objects and practical based are of the relational art and relational aesthetics.
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WRIGHT, MARY, and PERRY COOK. "Project Arbol:Deer-B-Gone: journal of a guerrilla sound installation." Organised Sound 8, no. 2 (August 2003): 133–37. http://dx.doi.org/10.1017/s1355771803000025.
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Project Arbol:Deer-B-Gone is a an outdoor sound installation of indefinite duration for twenty-three speakers. It takes on a guerrilla approach to sound installation art. Low-tech concepts and supplies, such as car amplifiers, aircraft cable, inexpensive cassette players, coupled with an overall irreverence for mainstream consumerism, created something like a Disney World theme park gone awry. The installation, which was site-specific, took place in a backyard in Princeton, New Jersey, USA. Yards and yards of cable were woven through the trees. Speakers were later mounted on the cable. Once in place, the speakers moved slowly along the cable. Each speaker played its own sound track. While there were some technical difficulties that plagued the project throughout its development and performance, overall Project Arbol proved to be a resilient installation.
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Dumitriu, Anna, Antti Tenetz, and Dave Lawrence. "Kryolab." Leonardo 43, no. 5 (October 2010): 486–87. http://dx.doi.org/10.1162/leon_a_00045.
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KryoLab is an installation and performance that brings together bioart, ice sculpture and sound, in an investigation of delicate relationships in the Arctic ecosystem. It traces our individual and collective journeys, in terms of investigative art/science research as well as in terms of being part of the experimental European/worldwide collaborative e-MobiLArt project—designed to encourage collaboration with scientists and with artists from other cultural backgrounds and geographic locations. This article briefly describes the KryoLab installation concept itself, and the collaboration process.
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SAUTER, WILLMAR. "Unknown Womanby Anna Odell: The Event, the Trial, the Work – Reflections on the Mediality of Performance." Theatre Research International 37, no. 3 (September 4, 2012): 249–64. http://dx.doi.org/10.1017/s0307883312000909.
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This article is concerned with an extraordinary artwork created by a young Swedish art student, Anna Odell. Odell's re-enactment of an earlier suicide attempt on a bridge in Stockholm, filmed for an art installation, caused an outcry from the public and medical authorities and a court case that stimulated heated debate in the national press. Here I examine Odell's work for the ‘critical’ questions it in turn provokes about artistic creation and communication: the difficulties for the performance scholar in addressing the enactment when it is so generically hard to define; why the art/artist was found guilty of a ‘fraudulent practice’; and what might be revealed and further problematized by theorizing the enactment as a cultural, socio-political event.
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Kapstein, Adrienne. "Dead voices and lost sounds: an imagined sonic history." Revista Vórtex 9, no. 2 (December 10, 2021): 1–12. http://dx.doi.org/10.33871/23179937.2021.9.2.10.
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A project description of a sound art installation and interactive performance presented as part of the Up Close Festival in New York City in the winter of 2019/2020. The article is authored by the creator and director of the piece, Adrienne Kapstein. Created for an all-age audience, the piece was a unique, relational and socially engaged experience that merged sound art, live performance, illusion, technology, and audience participation. Designed to be completed in partnership with members of the community it sought to serve, the piece invited participation from every audience member through multiple and varied means of engagement.
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Markov, Aleksander V. "ART WORLDS. STUDY AND MODELING (REVIEW: ART WORLDS OF THE 21ST CENTURY. WAYS OF INTEGRATING ARCHITECTURE AND ART PRACTICES / T.G. MALININA (ED.). MOSCOW: BUKSMART PUBL., 2020. 500 P., ILL.)." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2020): 151–57. http://dx.doi.org/10.28995/2073-6401-2020-2-151-157.
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The book under review fits processes in contemporary architecture and art into the broad context of the living environment transformation by the human. In the book, architecture is considered as a field of searching for artistic integrity, which demands not only an integration of technologies and arts, but also a special mode of modeling technological and aesthetic processes. Hence contemporary architecture is conceptualized as part of the recent art procedures, including installation and performance. The history of art of the 20th century is reinterpreted as the history of art systems aimed at transforming the living environment through the disclosure of the communicative potential of material and form. The review discusses advantages and limitations of that approach.
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Malt, Johanna. "The Blob and the Magic Lantern: On Subjectivity, Faciality and Projection." Paragraph 36, no. 3 (November 2013): 305–23. http://dx.doi.org/10.3366/para.2013.0096.
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Through an examination of Proust's ‘magic lantern’ scene from the opening of A la recherche du temps perdu, alongside the work of the contemporary installation artist Tony Oursler, this article takes projection as a means of exploring the relationship between subjectivity and embodiment. Reading them in conjunction with Deleuze and Guattari's concept of ‘faciality’, I argue that Oursler's installations, combining performance, sculpture and video art, explore the fate of the body subjected to signification and can be described as ‘tragedies of faciality’. At the same time, anchored as they are in material relations, they are unable to detach the subject from the limits of the body in the radical way Proust can, via a literary account of projection which is, I argue, doubly virtual.
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Coan, Jaime Shearn. "How to See Black Space in Total Whiteness: taisha paggett’s underwaters (we is ready, we is ready) and the 2014 Whitney Biennial." TDR/The Drama Review 61, no. 3 (September 2017): 72–93. http://dx.doi.org/10.1162/dram_a_00674.
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underwaters (we is ready, we is ready), taisha paggett’s durational 2014 Whitney Biennial performance, was largely overlooked amidst the controversy over the lack of representation of Black female artists in the show. paggett’s process and performative installation challenge institutional forms of knowledge that shape the viewing of Black performance within the white cube. Her project makes space and place (both imaginative and material) for Black(female)ness in the art world.
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Westcott, James. "Gregor Schneider and the Flattering Performance Installation." TDR/The Drama Review 49, no. 4 (December 2005): 183–89. http://dx.doi.org/10.1162/105420405774762961.
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Gregor Schneider's performance installation, “Die Familie Schneider”, which took place in the East End of London in 2004, masterfully evoked family trauma and repression through its expertly evil feng shui and morose—and perverse—cast of actors
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Lukyanova, Olga, and André Mintz. "DEADARTIST.ME." Transfers 8, no. 2 (June 1, 2018): 122–28. http://dx.doi.org/10.3167/trans.2018.080208.
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On 6 May 2016, the web application deadartist.me was released. Although not disclosed to the users, it was the first component of an art project devised to experiment with data collection procedures and their social implications. The web app was conceived as a data collection performance that reenacted typical online practices. The data it generated were later presented as an installation containing several visualizations as traces of the app’s activity. Additionally, a live performance was held in which we, the artists, manually anonymized data rows out of the database tables. This performance took place in the project’s premiere, in the context of the collective exhibition Foreign Objects held in 2016 in Aalborg, Denmark, at Nordkraft, a cultural venue in the city’s harbor area. The installation was also later shown in 2017 at Ars Electronica, based in Linz, Austria, at the PostCity venue.
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Wood, Denis. "Map Art." Cartographic Perspectives, no. 53 (March 1, 2006): 5–14. http://dx.doi.org/10.14714/cp53.358.
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Artists make maps. Inspired by maps made by the Surrealists, by the Situationists, by Pop Artists, and especially by Conceptualists of every stripe, artists in increasing numbers have taken up the map as an expressive medium. In an age less and less enamored of traditional forms of representation – and increasingly critical – maps have numerous attractions for artists. Beyond their formal continuities, maps and paintings are both communicative, that is, constructs intended to affect behavior. As the energy of painting has been dispersed over the past half century into earth art, conceptual art, installation art, performance art, video art, cyber art, and so on, it has dispersed the map as a subject along with it. The irresistible tug maps exert on artists arises from the map’s mask of neutral objectivity, from its mask of unauthored dispassion. Artists either strip this mask off the map, or fail to put one on. In either case artists simultaneously point to the mask worn by the map, while they enter unmasked into the very discourse of the map. In so doing map artists are erasing the line cartographers have tried to draw between their form of graphic communication (maps) and others (drawings, paintings, and so on). In this way map artists are reclaiming the map as a discourse function for people in general. The flourishing of map art signals the imminent demise of the map as a privileged form of communication. The map is dead! Long live the map!
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Schneider, Rebecca. "Remembering Feminist Remimesis: A Riddle in Three Parts." TDR/The Drama Review 58, no. 2 (June 2014): 14–32. http://dx.doi.org/10.1162/dram_a_00344.
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Freud's “riddle” that women are, themselves, “the problem” takes on new significance in thinking back through the “remimetic” strategies and tactics of mid-century feminist performance art. What sorts of “problems” arise with the stellar success of women artists in the 2000s, and the new status of “global art star” for artists such as Marina Abramović and Cindy Sherman? What may have been left out of the picture? Perhaps the recent “living archive” re.act.feminism installation by curators Bettina Knaup and Beatrice Stammer may provide some clues.
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Armstrong, R., and Lauren Redhead. "/'(H)weth: Voice - breath - body - form/s." New Sound, no. 46 (2015): 155–67. http://dx.doi.org/10.5937/newso1546155a.
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/'(h)weTH is a collaborative work of visual and sound art produced by R. Armstrong (USA) and Lauren Redhead (UK). The work combines an installation, two video projections, four channel sound, and an optional solo performance part, in order to create an experience that is simultaneously aural and visual, in all of its elements. This article sets out to further explore the main themes of the work, by means of a dialogue between the voices of the two artists. In doing so, it also facilitates a discussion of how /'(h)weTH might contribute to an understanding of the materiality of sound art, and the boundaries between visual art, sound art, and music.
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Gingrich, Oliver, Evgenia Emets, Alain Renaud, Sean Soraghan, and Dario Villanueva Ablanedo. "KIMA: The Wheel–Voice Turned into Vision: A Participatory, Immersive Visual Soundscape Installation." Leonardo 53, no. 5 (October 2020): 479–84. http://dx.doi.org/10.1162/leon_a_01698.
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Over the last five years, KIMA, an art and research project on sound and vision, has investigated visual properties of sound. Previous iterations of KIMA focused on digital representations of cymatics—physical sound patterns—as media for performance. The most recent development incorporated neural networks and machine learning strategies to explore visual expressions of sound in participatory music creation. The project, displayed on a 360-degree canvas at the London Roundhouse, prompted the audience to explore their own voice as intelligent, real-time visual representation. Machine learning algorithms played a key role in meaningful interpretation of sound as visual form. The resulting immersive performance turned the audience into cocreators of the piece.
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Chung, Chang-mi. "Historicity of “The Great Wall” of China in Contemporary Chinese Art: In the Case of Installation and Performance Art after the 1980s." Journal of History of Modern Art ll, no. 36 (December 2014): 257–84. http://dx.doi.org/10.17057/kahoma.2014..36.010.
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Fuente, Marta, Le Chi Hung, Jamie Goggins, and Mark Foley. "RESEARCH ON PASSIVE SOIL DEPRESSURIZATION SYSTEMS: STATE OF THE ART AND LAB TEST ON-GOING." Radiation Protection Dosimetry 191, no. 2 (September 2020): 209–13. http://dx.doi.org/10.1093/rpd/ncaa149.
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Abstract There is strong evidence both internationally and in Ireland that the correct installation of passive prevention systems in new buildings is the most cost-effective way of protecting the population against radon. Previous work considering membranes, granular fill material in the aggregate layer beneath the slab and sump system has been conducted in Ireland to improve the protection of buildings from radon. The implications of research on passive sumps potential to reduce radon concentrations are significant, as if it can be shown that the installation of passive sumps in Irish building is effective; this could constitute a low-cost, passive, sustainable method for minimizing radon levels in buildings. On-going experimental tests investigating the performance of different common cowls used for passive soil depressurization systems are presented, in addition to the impact of different vertical heights and horizontal lengths of pipe with a number of bends investigated.
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Kostiuk, Olha, Olha Vaskevych, Nataliia Zlenko, Olena Savitska, Rada Mykhailova, and Taras Gorbatiuk. "The Philosophy of Design in the Innovation Space of the Postmodern World: Consciousness of Cultural Practices." Postmodern Openings 13, no. 1 (January 31, 2022): 170–85. http://dx.doi.org/10.18662/po/13.1/390.
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The design ideas of the postmodern era reflect the general trends of socio-cultural reality, namely the loss of traditional moral guidelines, disharmony and destructiveness combined with absurdity, a sense of crisis, abyss and uncertainty conveyed in signs and in spatial coordinates. Design products become installations in which the viewer is a direct participant, sometimes even the creator. Postmodern design denies finitude, noting the plurality, uncertainty and fluidity of the world. The paradox of postmodern design culture is expressed in a combination of diametrically opposite things, sometimes even mutually exclusive. The era of postmodern design culture has recorded the fusion of "high" and "low" art, the emergence of new trends - neo-conceptual art, art installation, lowbrow art, performance art, digital art, telematic art - has affected. It should be noted the immersion in virtual reality in particular, as a result of the perception of the concept of postmodernism. After all, the purpose of designer items and their perception has already been changed in accordance with the needs of a person in the postmodern world. A striking example is the coronavirus epidemic, which has become the central theme of successful design projects. After all, a protective mask as a medical device becomes the object of design solutions that transform it into a means of self-expression (fabric masks, masks with pictures), or the manifestation of social characteristics (inscriptions about social distancing, calls for certain actions), or the result of digital achievements. (the ability to measure temperature and monitor body indicators).
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FRANCIS, JACQUELINE. "The Being and Becoming of African Diaspora Art." Journal of American Studies 47, no. 2 (April 17, 2013): 405–16. http://dx.doi.org/10.1017/s0021875813000091.
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By and large, “African diaspora art” is a generic label, presently applied with the purpose of broadly situating modern and contemporary artwork by people of African descent in discussions of African art, most often in connection with “traditional” West African ritual sculpture, installation, and performance. I focus on the work that this term has done or has been summoned to do in the US since the late twentieth century. This essay considers several artistic projects and critical and institutional missions linked to African diaspora art and culture: (1) a 1960s essay by art historian Robert Farris Thompson that organizes nineteenth-century material culture under this heading, (2) the black body as icon of the African diaspora in in the work of US artist David Hammons from the 1970s, and (3) the founding of the Museum of the African Diaspora (MoAD) in San Francisco in 2002. We are in the process of institutionalizing African diaspora art, situating it as a cultural consciousness that supersedes other identifications and narratives of association. We value and celebrate this epistemological construct, and, in doing so, reveal that it is also a social formation driven by doubts about racial and national belonging and the desire for a transformative signification and new, organizing logics of being.Cultural identity … is a matter of “becoming” as well as of “being.”Stuart Hall1By and large, “African diaspora art” is a generic label, often summoned to broadly situate modern and contemporary artwork by people of African descent and to connect it to “traditional” West African ritual sculpture, installation, and performance.2 It is a valued and celebrated epistemological construct; it is also a social formation driven by doubts about racial and national belonging and the desire for a transformative signification and organizing logics of difference. We are in the process of institutionalizing African diaspora art, situating it as a cultural consciousness that is meant to supersede other powerful identifications and narratives of political association.
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Bokaris, Panagiotis-Alexandros, Michele Gouiffès, Véronique Caye, Jean-Marc Chomaz, and Christian Jacquemin. "Gardien du Temple: An Interactive Installation Involving Poetry, Performance and Spatial Augmented Reality." Leonardo 53, no. 1 (February 2020): 31–37. http://dx.doi.org/10.1162/leon_a_01569.
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Gardien du Temple is an interactive installation where the concealment or revelation of poems and images is achieved through diminished reality, a new approach to augmented reality using a projector-camera system. By capturing the environment with a camera and canceling parts of the scene by reprojecting inverted images, Gardien du Temple questions the control of our perception, of what is present or not. It reveals new perspectives for installations and performing arts aiming at erasing parts of the physical space.
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Fu, Ya Nan, and Hai Tao Mao. "Construction Technology Research on Super Glass Curtain Wall of the Henan Art Center." Applied Mechanics and Materials 170-173 (May 2012): 3212–15. http://dx.doi.org/10.4028/www.scientific.net/amm.170-173.3212.
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Henan Art Center has a new curtain wall structure - the structure cable net glass wall. Because of the cable net structure for glass curtain wall construction and design difficulties, the design of curtain wall performance to deepen the main points of cable net structural wall of the working principle, design connections, cable net structural wall of the cable construction steps, cable pre-stressing and tension when the technical parameters and under the glass curtain wall materials and installation was introduced. And the main factors affecting the performance curtain wall and the cable tension when the ambient temperature and the tension stress was studied. The results showed that the construction program was optimize and construction quality and safety was ensure.