Installation (Art)

This essay was first published (English and Chinese) in the proceedings of the International Conference of “See in”: Hai-an Street Museum, Tainan, Taiwan, July 16, 2005. That English version had a number of technical problems and neither version included the illustrations.  This version was completed in 2016 with the illustrations. No attempt was made to update it with newer information.  Except to note that the person behind the City Museum, Bob Cassilly, died tragically in 2011.

"Bild och natur" is an anthology edited by Peter Bengtsen, Max Liljefors and Moa Petersén. Ten researchers from the Division of Art History and Visual Studies at Lund University, Sweden, have contributed chapters.

The ten texts (seven in Swedish and three in English) explore how nature has been visually depicted throughout history. From medieval church paintings to contemporary computer games and street art, from art photography to genetic diagrams – in these varied and fascinating images, nature is given a face, becomes concrete. The chapters in the book address these different images of nature and show that they are also multifaceted portraits of ourselves.

"Bild och natur" was published with generous support from The Gyllenstierna Krapperup's Foundation and The Elisabeth Rausing Memorial Foundation.

This paper considers Joan Jonas’s translations of her works from performance to installation through a focus on one specific but crucial work: her 1976 performance, turned multi-channel video installation, Mirage. Throughout her career Jonas has worked  fluidly across media, cultivating transformations among motifs as they traverse two and three dimensions, still and moving images, and return in various works over time. As introduced within the context of Jonas’s 1994 retrospective at the Stedelijk Museum Amsterdam, installation forms a relatively new component in this matrix, but not a fundamentally different approach. This paper argues that to recognize that continuity is to appreciate Jonas’s performances and installations not as dichotomous but rather as integrated within a cohesive practice that encompasses her multifaceted artistic concerns. At the same time, to recognize the new emphasis that Jonas placed on installation at a crucial historical juncture in the 1990s suggests an interpretation of her practice as historiographical, the artist’s active shaping of her work’s legacy in the future. With close attention, Jonas’s actions demonstrate her conceptualization of her performances and their potential relationships to other art forms—information vital to broader histories of performance art and the integration of performance within museum collections.

Mit ihrer SchattenTrilogie, die die Installationsperformances "Die Scheinwerferin" (2011), "Absolute Helligkeit" (2012) und "Unverinnerlicht" (2015) umfasst, hat sich die an den Grenzen von bildender Kunst und szenischer Installationskunst agierende Naoko Tanaka nicht nur im gesamten Bundesgebiet (mit Vorstellungen u.a. in Berlin, Leipzig, Essen, Hannover, Düsseldorf) einen Namen gemacht, sondern auch auf internationaler Ebene (mit Gastspielen u.a. in Japan, Frankreich, Belgien, Österreich, Schweiz, Italien, Serbien, Polen, Portugal). Die SchattenTrilogie vereint drei eigenständige und doch aufeinander bezogene, objekt- und bildbasierte, atmosphärisch dichte Auseinandersetzungen mit Licht und Schatten, die die Künstlerin als technisch-mediale Phänomene ebenso interessieren wie als Sinnbild für existenzielle Fragen. Um die Performances kreisen wie Satelliten Skizzen und Zeichnungen, Vorarbeiten der Künstlerin, Fotografien, die Einblicke in die Vorbereitung und Einrichtung der Szene und die Anfertigung der Objekte geben, sowie ein poetischer Text von Yoko Tawada und wissenschaftliche Essays von Hartmut Böhme, Gabriele Brandstetter und Adam Czirak, die sich als Angebote verstehen, mit Tanakas Arbeiten ins Gespräch zu kommen.
Das Buch erscheint zunächst auf Deutsch, im Herbst 2017 auch in einer englischen und in einer japanischen Ausgabe.

SAVIO, S.M. Interseccions between Art and Archtechture- Study of Case - Olafur
Eliasson.2015. 183 f. Dissertação (Mestrado) - Faculdade de Arquitetura e Urbanismo,
Universidade de São Paulo, São Paulo, 2015.
The reflection about the experience of space and its folding about construction
and its physical spaces, on the limit between Art and Architecture, it was the purpose
of this research. The presentation of the Danish artist work, OlafurEliassoncreating an
overview of the study of space that the Artist has been carrying out since 1990.It is
installations of Art, which seeks a sensorial space, provocation of the visitor’s sense to
produce an experience of space. Because of the theoretical basis mentioned
frequently by the Artist and its artistic and architectural references, it is necessary one
chapter of understanding the theory of Eliasson’s masterpieces. Starting from the
contact with his artworks, narrowing the theme was defined around the aspects of
light and movement on the perception of space, where it highlights the references of
the Artist on History of Modern Art- The Kinetic Movement and the Group
Light&Space. The configured-triangle between the principle figures of these three
moments- Lászlo Moholy-Nagy, James Turrell and OlafurEliasson–serves as the access
to the repertory of the Danish Artist and it justifies the research not being focused on a
series of other notorious references of Eliasson. This thesis is divided, then, in three
chapters - the Presentation, the Understanding of the Theory and the Artworks of
Eliasson–in which the relationship is established on the examples of the artworks
commented. The tangle of theoretical references found on books of Eliasson has
consequences on the miscellaneous of Chapter 2. From the concepts clarified, terms
used by the Artist, on which artwork commented. On the analysis of two expositions
that occurred on the 2000 years, Take Your Time and Weather Project, it is better
understood his vocabulary and conceptual intentions applied on physical space. The
relevance of multiple researches of OlafurEliasson, which put him on the boarder of
Art and Science includes also the philosophical knowledge and its collaborators, such
as the curator Daniel Birnbaum, and culminates on the experiment of space on the
installations, on the participation of the public.
Keywords: Contemporary Art, Architecture, Art Exhibition.

Longer version of Frieze interview in Turkish and English, published in the monthly magazine Sanat Dünyamız.

DAN GRAHAM WAS IN ISTANBUL FOR HIS FIRST SOLO EXHIBITION AT PROTOCINEMA. THEY MET WITH CAN ALTAY IN A CROWDED BACKYARD CAFE IN CIHANGIR, TO TALK ABOUT CORPORATE URBANISM, VOYEURISM, LANDSCAPE TRADITIONS, THE “JUST-PAST” AS A HISTORICAL CATEGORY, QUESTIONS OF HUMAN SCALE, THE DUAL-FACETED ACT OF MODELMAKING, THE OVERLAYING OF FUNCTION AND MEANING, AND HOW NECESSARY IT IS TO BE INSIDE GRAHAM’S WORK, RATHER THAN BEING FROM THE OUTSIDE LOOKING IN. ISTANBUL WAS NOT ONLY THE BACKDROP FOR THIS ENCOUNTER; IT WAS MORE OF A FRAME-SPACE –NOT UNLIKE GRAHAM’S PAVILLIONS– THAT SHAPED THE DISCUSSION.

A sketch of the development of art to presentations in contexts outside the artworld and to the presentation of reflections of contexts ‘in situ‘ (= in the reflected context, including the contexts of art exhibitions) offers basics for a discussion of Context Art of the seventies and eighties and of the  integration of contextual conditions in the Digital Art of the early nineties.

TOWARDS A PLANNED CONSERVATION OF CONTEMPORARY ART
In the field of contemporary art conservation, the artists’ experimentation on new materials and new media creates uncommon problems for the restorer, if added to the  often conceptual nature of the work of art. The issues that conservation and handling of contemporary works raise are closely linked to the very nature of the work of art in the age of its technical reproducibility and this is even more true after the spread of participatory and relational forms of art.
One of the main problems in the approach to the protection of contemporary art by the Italian Ministry of Cultural Heritage in certain areas, such as Public Art and Street Art, consists precisely in the peculiar nature of some works, conceived from the very beginning as participatory and relational and therefore intrinsically ephemeral.

ÖZ Bu makalede öncelikle enstalasyon sanatı ile ilgili genel bir araştırma yapılmıştır. Enstalasyonun çeşitli tanımları açıklayıcı bir şekilde sıralanmıştır. Enstalasyon sanatının kısaca tarihi gelişimi araştırılmış, öne çıkan sanatçılara ve sanat eserlerine yer verilmiştir. Bir sanatçı enstalasyon yaparken nesneye ve mekana ne katmaktadır? Hangi işlem sıradan nesneyi sanat eserine dönüştürmektedir? Sanat nesnesinin estetik uzamın dışındaki apriori varlığı nereye gitmiştir? Bu soruların yanıtları sanat eserlerinin oluşturduğu durumlar içerisinde aranmıştır. Nesnenin ya da gerçek dokümanların galeri mekânında sergilenmesi bir bağlamın kurulmasını zorunlu kılar. Bu noktada nesnenin işlevinin iptali ve hikâyenin doğrudan aktarımı öne çıkan bir durum olarak görülmektedir. ABSTRACT Firstly, a general research on installation art has been made in this article. Various description of the installation is arranged in a descriptive way. The historical development of the art of installation was briefly investigated, and featured artists and their works of art have been included. What does an artist add to the object and space while doing an installation art? Which process transforms the object into a work of art? Where did the a priori existence outside the aesthetic space of the art object go? The answers to these questions were searched in the situations created by the works of art. The exhibition of the object or the actual documents in the gallery space makes it necessary to establish a context. At this point, the cancellation of the function of the object and the direct transfer of the story are prominent situation. GİRİŞ Enstalasyon bir sanat dalı ya da akımı olmasından çok nesnelerin mekân içerisinde organize edilerek kurulduğu bir sanat pratiği olarak bilinmektedir. Dilimizde " yerleştirme sanatı " olarak da kullanılan enstalasyon sanatı site spesifik-mekana özgü-olarak üretilen sanat olarak tanınmaktadır. Site spesifik kavramı, mekana özgü olma durumu, fizik yasalarına bağlı olarak bir yerde bulunma, orada olma durumunu belirtmek için kullanılır (Kwon, 2002: 11). Enstalasyon sanatında mekâna özgü olma durumu, mekânın anlamı ve enstalasyonu oluşturan nesnelerin anlamlarıyla da mekana özgü olması şeklinde açıklanabilir. Enstalasyonun mekana özgü olarak üretilmesi, enstalasyon ile video enstalasyon ve performans gibi diğer çağdaş sanat türleriyle daha yakın ilişkiler kurulmasını sağlamaktadır. Enstalasyonun sanatçıya sunduğu ifade, malzeme ve strateji imkânları birçok yenilik ve orijinal çalışmanın ortaya konulmasını sağlamıştır. Makalede enstalasyon sanatının genel tanımları ve tarihi bilgileri verildikten sonra enstalasyon sanatında nesnenin işlevinin iptali ve hikayenin doğrudan aktarımı olarak belirlenen stratejiler konuları örneklerle incelenmiştir. ENSTALASYON SANATI HAKKINDA Küratör Lisa Moran (2003), enstalasyon sanatı hakkında, nesnelerin mekan içerisinde organize edilmesiyle, hem mekanın hem de mekan içerisinde organize edilen nesnelerin toplamının enstalasyon olarak sanat eseri şeklinde tamamlandığını öne sürülmektedir. Moran'a göre enstalasyon sanatı resim,

Making Worlds: Art and Science Fiction is an anthology of new writings by artists, curators, art historians and writers who are self-confessed science fiction fans. The linking point is the idea of science fiction as a platform for the building of alternate art histories. This collection is concerned with the ways in which science fiction might be performed, materialised or enacted within a contemporary context. Featuring essays on Stanislaw Lem, Robert Smithson, J.G. Ballard, Eduardo Paolozzi, H.P. Lovecraft, Philip K. Dick, Samuel Delany, Pier Paolo Pasolini, Andrei Tarkovsky, R.A. Lafferty, and Stanley Kubrick as well as texts on time travel, philology, geophilosophy, loops, speculative realism, dystopias, telepathy, surrealism, pop, Mercerism, and contemporary art.

Edited by Amelia Barikin and Helen Hughes with contributions by: Adrian Martin, Amelia Barikin, Andrew Frost, Anthony White, Arlo Mountford, Brendan Lee, Charles Green, Chris McAuliffe, Chronox, Damiano Bertoli, Darren Jorgensen, Dylan Martorell, Edward Colless, Helen Hughes, Helen Johnson, Justin Clemens, Lauren Bliss, Matthew Shannon, Nathan Gray, Nick Selenitsch, OSW, Patrick Pound, Philip Brophy, Rex Butler, Ryan Johnston, and Soda_Jerk.

Discipline : Esthétique, Sciences et Technologies des Arts Spécialité : Esthétique, histoire et pratique des arts plastiques et de la photographie Équipe : Arts des Images et Art Contemporain Présentée et soutenue publiquement par Athina MASOURA Le 7 décembre 2018 L'expérience immersive du spectateur dans l'art de l'installation Thèse dirigée par M. Paul-Louis RINUY Jury : M. Paul-Louis RINUY Université Paris VIII Vincennes -Saint-Denis Mme Tania RUIZ Université Paris VIII Vincennes -Saint-Denis M. Thierry DUFRÊNE Université Paris X -Nanterre Mme Sylvie COËLLIER Aix Marseille Université

The audiovisual history charted in chapter two is here revoiced in terms of spatial expansion. It is argued that video technology did not initiate a new form of creative engagement with its performance spaces, but rather represented the peak of a spatial expansion that had been gathering pace throughout the twentieth century. As musicians explored their spatial parameters and artists included time in their work, attention was drawn to traditional viewing and listening procedures. Drawing on the theories of László Moholy-Nagy, Siegfried Giedion, Christopher Small and Brian O’Doherty, this chapter compares the conventions of gallery exhibition and display, viewing procedures and audience behaviour with the customs and aesthetics of listening in the traditional concert hall. Performance and installation art, aleatoric music and communal composition are used to propose a theory of spatialised creativity, audience activation and performativity.

Surveys and contextualizes recent New Zealand artists' cinema by genre including, Landscape, Psychodrama, Identity Politics, Visual Music, Installed & Expanded Cinemas, and Animation. Touches on aspects of Asian and Western philosophy that resonate with cinema, art, perception and consciousness. From Diary of a Viewer, Part Three
Includes updates and revisions covering some work produced after the initial publication of this article in Illusions Magazine.

See also: Before Artists' Cinema

الجشطالتThe Project is “One Point controls everything in the room”.
Installation NO. 1 “Everything belongs to One Source in this Universe”
Installation NO. 2“The diameter of the circle is impossible to become parallel lines”.
“The parallel lines meeting at one source “
Installation NO. 3lines meeting in a one-point in everyplace even the spare places in the room

The paper discusses the implementation of a multi-agent system as an integral component of a hybrid, digital-physical architectural environment. It contributes to the existing practice-based architectural research in two ways: 1) by describing an innovative integration of a multi-agent system for surface patterning; and 2) by discussing this integration in terms of emergent materiality. This case-study demonstrates suggestive creative approaches and observes in the field the operation of a concept that promises to be useful for future analysis, research and design."

"In Nach Jugendstiel kam Roccoko (After Art Nouveau came Rococo) (2006), contemporary artist Urs Fischer conjures up an anachronism to reverse art historical chronology, a strategy he often implements in his work. This paper looks at the exhibition Who’s Afraid of Jasper Johns? (2008), co-curated by Fischer at the Tony Shafrazi Gallery in New York. The exhibition subverts historical order and museological conventions by displaying “real” artworks on top of photographic reproductions of works from a previous show, resulting in a visual delirium of misrecognition, which art critic Jerry Saltz likened to “some mad replicating vision machine.”
In the early 1930s, Salvador Dalí started developing the method of paranoia-criticism to explore the critical and creative potential of paranoia “to systematize confusion.” In “Concerning the Terrifying and Edible Beauty of Art Nouveau Architecture” (1933), Dalí discusses anachronism (the “delirious-concrete”), to introduce a vertiginous time and space where “elements of the past are summoned to life again, combined and being merged with one another to attain the highest degree of aesthetic depreciation” (Minotaure, 1933). Dalí develops the paranoiac-critical method by implementing anachronism, simulation, and the synchronicity between making and interpreting. Fischer admires Dalí for his ability to overthrow the limits of art making, however, the relevance of paranoia-criticism to contemporary art has yet to be investigated. I suggest that any sustained study of it has been overlooked in favor of André Breton’s psychic automatism that Dalí both drew upon and challenged.
This paper addresses Fischer’s curatorial innovations that put pressure on the construction of art history and historiography by upsetting notions of before/after, past/present, in light of Dalí’s investigations on paranoia and anachronism. The method proposes a subversive model for the production of art historical narratives, breaking with ideas of history as a linear chronology, problematizing at once the construction of an artist’s identity and art history’s own.



"

What is at stake when queer rituals and forms of cultural mourning intervene and disrupt closed structures of heteronormativity? What does a creative intervention offer a queer archive of cultural memory underpinning trans* social death as a generative space of resilience? How can trans* social death offer art praxis as a justice project of existence as resistance, to disseminate and translate knowledge of queer temporality, spatiality, and relationality?

At a time when the gay community -to which Gober belongs- was losing more and more people to AIDS, Johns, Cage and Warhol almost certainly registered in special ways with Gober as both outstanding and prominent gay American artists who, like him, had come to New York City, where one could -more or less- be oneself, and test out one’s ideas before an audience open to experimentation -more so perhaps than almost anywhere else in these united states...

Dumbarton Oaks Research Library and Collection, in Washington, DC, is an institute of Harvard University dedicated to supporting scholarship internationally in Byzantine, Pre-Columbian, and Garden and Landscape Studies through fellowships, meetings, exhibitions, and publications. Located in Georgetown and bequeathed by Robert Woods Bliss and Mildred Barnes Bliss, Dumbarton Oaks welcomes scholars to consult its books, images, and objects, and the public to visit its garden, museum, and historic house for lectures and concerts.

In an era where mainly growing bottom-line profits are the focus of universal corporate cultures , being creative and experimental is less affordable, and also there is a lack of equal opportunities for all. Architecture, both in practice and education terms, remains competitive and very much attached to the rich-client/genius-architect couple. In my pedagogy, I critique and challenge this enterprise by taking a different approach that allows and reinforces creativity and experimentation for students, while equipping them to become emergent professionals with skills to envision and produce a more social and more public architecture that integrates larger concerns. In doing so, I have developed a pedagogical model that is based on exhibitions and art installations which I had used and tested as part of my Thesis Lab course.

Als populäres Sujet innerhalb der Künste markiert Blindheit keinen Gegensatz, sondern eine spezifische Ausprägung visueller Wahrnehmung. Vor dem Hintergrund der von den Visual Culture Studies, der Kunst-, Theater-und Kulturwissenschaft vorangetriebenen Beschäftigung mit Formen und Praktiken visueller Wahrnehmung, Sichtbarkeit und Repräsentation widmet sich Paradox Blindheit der grundsätzlichen Verschränkung von Konzepten des Sehens und der Blindheit. Der Band rückt mit dem Ziel, Bedeutungen und Funktionen von Blindheit in den Künsten näher zu bestimmen, eine Auswahl neuerer Arbeiten aus der Literatur, der Fotografie, dem Theater und der szenischen Installationskunst in den Fokus. Nachgewiesen wird, dass diese neueren, im Kontext des westlichen Denkens zu verortenden Auseinandersetzungen mit Blindheit keine Absage an das Paradigma der Visualität darstellen, sondern sich als produktiv für das Aushebeln und Aufbrechen verkürzter, ausgrenzender und normierender Praktiken visueller Wahrnehmung erweisen. Die Einbeziehung kulturhistorischer Deutungsmuster wie Blindheit als Strafe oder männliches Privileg ist dabei unabdingbar, dienen diese kulturellen Deutungsmuster doch bis in die Gegenwart als Matrix für vielschichtige und ambivalente Aushandlungen von Blindheit an der Schwelle zwischen konventionellen Kategorien des Sehens und Nichtsehens, des Wissens und Nichtwissens sowie des Materiellen und Immateriellen.

Increasingly, visual artists, writers and musicians are using social media to enable participation in their art projects (PostSecret (Warren 2004-2014, We Feel Fine (Kamvar & Harris 2005-2014, and the Virtual Choir project (Whitacre 2009(Whitacre -2014). However, recent literature has addressed the use of social media to 'self-present' or to construct idealised and unrealistic virtual identities (Lanier 2010; Marche 2012; Turkle 2012). The question of whether people can, or want to, use social media platforms for authentic self-expression is an important one for crowdsourced art projects, especially those projects that purport to explore the human condition. The creative project, 1000 Tears, approaches this question from a practice-based orientation. We invited expressions of regret from the general public to see whether they would choose to participate via Facebook, SMS or postcard. We collected these regrets in a database that enabled us to analyse the regrets against a number of criteria, principally the mode of interaction and the theme of the regret. This database aligns with the literature on the topic of regret, which reports self-blame and self-harm to be common features of this emotion. We conclude that the participants in the project did not want to share their genuine life regrets via Facebook, rather they preferred to express themselves via the anonymity of a postcard.

I have been arguing for some time now that ethnography is going to change or is changing by the same means that it already has within it—not by obsessing over its political efficacy with the text-cultures it invents—but by opening ethnography to its own performance and performativity.—Abdel Hernández, September 17, 1997. 1

Published in a local arts newspaper in East Alabama known as The Republic, this synopsis covers artist Lauren Alyssa Howard’s introspective installation at Fieldwork Projects Gallery, the satellite gallery of Auburn University’s Department of Art and Art History. Images taken by author Jordan Philson during the exhibition in the summer of 2015.

Ce mémoire s’intéresse aux pratiques sculpturales et installatives actuelles à l’échelle miniature, en lien avec des formes de démesures associées à la globalisation et à l’hypermodernité. Partant du postulat que l’ère actuelle, caractérisée par d’effarants changements d’échelle, prolifère en formes de démesure susceptibles de rendre l’humain sans cesse plus petit dans un espace quotidien qui ne cesse de s’étendre, de se densifier et de se complexifier, l’étude souligne l’importance, dans la sphère artistique actuelle, d’une tendance apparemment toute contraire à cette expansion globalisée : la miniaturisation. (...)

In the essay ‘The Gesture of Writing’, Vilém Flusser describes writing as a ‘penetrating gesture that informs a surface’. Understanding drawing as another form of ‘superficial’ graphic inscription, this paper looks into the implications of this material expression within the drawing as an object and a signifier. This essay addresses the process of architectural representation as a series of consecutive re-sitings. Taking into account not only the material situation of the drawing but also the virtual and physical loci of fabrication that precede it, the essay discusses the role of the drawing surface as an operative agent of reterritorialization. Drawing from the concept of site-specificity as it has emerged in art (Kwon) the paper suggest that the drawing surface constitutes not merely a new form of site, that is, a hyperreal counterpart of an origin (Baudrillard), but an intertextual accumulation of a number of sites that consecutively emerge in the transcriptive operations that occur in the process. This both projective and projected situation is further investigated through the author’s installation Draw of a Drawing, a ‘re-sited’ representation of the city of Edinburgh. Considered here a form of ‘drawing in space’, installation is treated as a means of illustrating the depth of the drawing, directly expressing the relation between the spatial and the superficial by bringing into appearance the negotiations that occur between surface and viewer.

This paper critically addresses modes of graphic representations of the city prevalent in architectural discourse, while seeking new ways to make visible the complex weave of movements that form the contemporary urban condition. The architectural conventions employed in transitioning from situated experience to drawing favour the static, while omitting certain fundamental aspects of that situated experience. Through these gaps the inability of normative modes of representation to communicate the kinetic is made clear. Using Edinburgh, birthplace of the kaleidoscope (Brewster) and the panorama (Barker), as a site of investigation this paper examines the discrepancies that appear between matter and appearance (Bergson) within the modalities of urban representations. Moreover, it attempts to reassess the productive agencies of both space and drawing that are lost in the translation from actuality to representation. To this end, and drawing on previous experimentations with notation, the paper introduces the author’s installation Kaleidoscopic City, a representation of a part of the city of Edinburgh first presented at the Plenitude and Emptiness Symposium on Architectural Research by Design (2013).

The electromagnetic basis of video technology allowed sound and image to be recorded simultaneously: as a result, composers could visualize their music and artists could sound their images. Many believed that such intermedial audio-visuality signalled a brand-new art form that was free from lineage. Using Nam June Paik as an example, this article suggests that this is inaccurate. During the twentieth century, composers were experimenting with spatializing their sounds, while artists were attempting to include time as a creative element in their visual work. The intermedial capabilities of video technology allowed these two disciplines to come together, acting as a conduit that facilitated the fusion and manipulation of pre-existing elements. Understood in this way, music and art in the twentieth century cannot coherently be discussed as individual disciplines, but rather encourage a more lateral history – or spatial sensibility – that moves fluidly through the space between them.

OPEN ACCESS:
https://www.tandfonline.com/doi/full/10.1080/02690403.2011.618727?src=

Dopo quasi vent'anni vissuti tra Giugliano, Licola e Napoli, e aver esposto al Madre di Napoli, a Salonicco, a Cuba e Istanbul-solo per citare le mostre più recenti-nel 2016 Eugenio Tibaldi si è trasferito a Torino per lavorare sulla zona di Barriera di Milano e mettere a punto il suo progetto Seconda chance per il Museo Ettore Fico. Alla continua ricerca dei fermenti che animano le periferie cittadine, Tibaldi ha elaborato un'estetica lieve e brutale allo stesso tempo, che non cede il posto a sbavature né patetismi. Nella meticolosa indagine dell'artista, mossa da un'apparente forza ordinatrice, elementi della composizione e interferenze contribuiscono a un equilibrio complessivo e indiscutibile, a dispetto delle contraddizioni che accoglie in sé. Oggetti di vita quotidiana, architetture, scorci, strutture naturali vengono raccolti e amalgamati per dare alla luce nuove forme, in un linguaggio ibrido tra l'iperrealistico e l'onirico. Partendo da una fase di documentazione itinerante, Tibaldi circoscrive il suo campo di indagine, scatta fotografie che fungono da annotazioni visive, appunti per immagini che divengono oggetto artistico in quella peculiare inclinazione archivistica dell'estetica contemporanea, a rimarcare che anche il presente ha una stratigrafia da cui è impossibile prescindere. E nella perpetua oscillazione tra stadio preliminare e stadio finale l'artista rintraccia i nessi latenti tra dimensioni opposte: effimero/eterno, informale/ufficiale, grezzo/raffinato impregnano tanto la sua ricerca teorica-componente sostanziale e costante del suo modus operandi-quanto i suoi lavori, in cui l'imperfezione è sempre elemento essenziale per il raggiungimento della più alta pulizia formale, sintesi armonica e schietta della realtà e della sua narrazione.

造形美術と舞台芸術それぞれの垣根を超えながらドイツを中心に活動している美術家、田中奈緒子。作家自らの手で造形されたオブジェによって空間を緻密に組み上げ、小さな光源をコントロールすることで生まれる光と影が、巨大な幻想世界を作り出すインスタレーション・パフォーマンス「影の三部作」を展開。幻想的とも思弁的ともいえる世界を生み出す本作の集大成を、記録写真、構想スケッチや、多和田葉子、ハルトムート・ベーメなどの豪華執筆陣による書き下ろしの寄稿論文を通じて探求する一冊。独語オリジナル（2017年6月発行）からの翻訳版。日本語訳は針貝真理子、寺尾恵人、石見舟の三名が担当。多和田葉子の日本語原稿は本人が執筆。

We live in the age of remix. Not just an appropriative phase, but an era of remix as cultural mediation—where recombination is a fundamental approach to cultural exchange (Manovich 1). Remix is the language of the Information Age , the coinage of Post-Postmodernism , rooted in long-developing systems of commercialism and communication. The very fiber of our social connectivity rests in an endless rewrite of materials, mashups,  pastiche and database sensibilities, intrinsically tied to everything from Google searches to language, television, art and text.
Remix is a manipulation and integration of cultural space, wherein the author-reader generates (and regenerates) moments in a self-curated, postproduction world. The resulting experiential theater is populated by fragments drawn from diverse sources, spinning elements with a cross-cultural, archival impulse that is both eclipsing and fragmentary.  Remix in contemporary art is the ‘appropriation’  of the 21st century, no longer the re-photography of Richard Prince, but a mutable landscape that uses a vast media-archive of memory and material: referred to here as the Celestial Jukebox.  It is a manifestation of the filter bubble’s  “parallel but separate universes” and the ghost-in-the-machine of convergence culture (Pariser 5).  Remix is bigger than the art world, bigger than commerciality—an invisible, increasingly normalized framework that provides strategies for communication and interaction. Conscious use of remix allows contemporary artists like Jennifer & Kevin McCoy and Anthony Discenza to build an interrogative, self-reflective investigation of the Information Age itself. The artist becomes a cultural DJ, a manipulator of archival compulsions that leads to “a kind of hunter-gatherer milieu…” (Miller). Such artists draw from the Celestial Jukebox, remixing, mashing and re-contextualizing material—providing a “systematic reworking of a source,” grounding individual perspective in a de-centering of authorship (Manovich 3).  Investigating contemporary recombination also critically anchors my own body of video work, where remix and manipulation open dialogue about the nature of televisual space-time, recollection and iconographic culture.

This article traces the interrelation of two forms of debt – financial debt and the symbolic debt to the past – in order to propose a rethinking of the discourse of debt through the ‘middle voice’, understood both as a grammatical category and, more generally, as an expressive modality that can take shape through different media. Can we revisit discourses of debt through ‘grammars’ that could restore a form of agency to the ‘indebted subject’ and disrupt the asymmetrical power relation between debtor and creditor? To explore this question, the article turns to literary and artistic responses to the discourse of debt against the backdrop of the Greek debt crisis. Through a close reading of the novella Close to the Belly (2014) by Sotiris Dimitriou and an untitled art installation by Stefania Strouza (2011), it traces how these works cast the subject as produced by the discourse of debt and test alternative conceptions of the indebted subject through the modality of the middle voice. Dimitriou’s novella tries to transcend both the moral discourse of financial debt and the debt to the past by envisioning a disengagement from all debt, which eventually yields a society without past and future. By contrast, Strouza’s installation reconfigures the debtor-creditor relation without renouncing debt altogether. By staging an encounter between Sophocles’ Antigone and Marx’s Capital, it transforms the power relation of debtor and creditor into a deictic exchange that makes these positions malleable and reversible. Through these works, the article explores the conditions for reconsidering the notion of debt through the modality of the middle voice and the risks but also the politically promising possibilities the middle voice opens up for conceiving the indebted subject and the temporality of debt otherwise.

The projection system detailed in this paper has been developed from a previous one using geometric images on 35 mm slides projected through volumes of theatrical smoke to produce 3-dimensional light images viewed in a darkened room and from work using rotating string and nylon net constructions to intercept similar images projected over distances of three to six meters.

A Provisional Memorial to Nuclear Disarmament is an Arts Catalyst Nuclear Culture Commission. It has been exhibited as part of Material Nuclear Culture, KARST, Plymouth, UK 17/6/16–14/8/16. Perpetual Uncertainty, Bildmuseet, Umea, Sweden 02/10/16-16/04/17, Z33, Hasselt, Belgium 17/9/17-10/12/17 and Konstmuseum, Malmö, Sweden 24/2/18- 26/8/18. Parade, Broadway Gallery, Letchworth, UK 13/12/19-16/2/20

"In 1983, the artist Daniel Spoerri created "Lunch on the Grass", a work designed to be excavated decades later. between archeology and contemporary art ...

En 1983, le plasticien Daniel Spoerri crée "Le déjeuner sous l'herbe", une oeuvre conçue pour être fouillée quelques décennies plus tard entre archéologie et art contemporain..."