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Room for doubt

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  • UndervisingssemesterVår
  • EmnekodeKMD-TEO-226
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Mål og innhald

Installation art, though having a history beginning with works such as Kurt Schwitter's Merzbau, Wagners notion of Gesamtkunstwerk, and its establishment of terminological usage in the 1960¿s, continues, to this day, to have an open and questionable meaning. Claire Bishop in her text "But is it installation art?", still finds it meaningful to ponder what the perimeters and materialities of what the term ¿installation art¿ entails. The open-endedness of an art which encompasses an immersion in arrangements conjoined to motion, of necessity, motivates a hesitation of description which has become problematized in the blurry binary of subject/object. As Bishop

laments: "Almost any arrangement of objects in a given space can now be referred to as installation art, from a conventional display of paintings to a few well-placed sculptures in a garden. It has become the catch-all description that draws attention to its staging, and as a result it¿s almost totally meaningless.¿

Beyond this ambiguity, however, art consensus still recognizes a set of material events that resolve the meaning of the term "installation art", i.e. spatial arrangements delineated by place-of-objects through which spectators-must-move. Given this expansive topology of Installation art, conditions would seem to include: 1) Encompassing environment, 2) location-specific, 3) Spatial/Objective Arrangements 4) Cross-Medium/ Material categories, 5) Spectator Activation, 6) Recontextualizing Objects per Viewpoints, 7) Uncertain Temporality, and 8) Site as critique. Forms of knowing are confronted in the open experience of the installation undermining stability both of the arrangement of objects and the internal/external constructions of the subject. Place, space, and objects as active relations performativity informs installation art. The immersive experience reinforced this performance of the objects of installation to cause a disjunction with habitual assessments and throw the viewer into an re-evaluation of the fuller experience of the multiple ¿beings¿ of space.

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Steven Dixon