art of installations part 1
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ARTE E TECNICHE DELL’INSTALLAZIONE
Parte Prima: L’installazione prima dell’avvento del mezzo video
• Confronto tra spazio estetico e spazio sociale.
• Attraversa quasi tutte le correnti e i movimenti moderni e contemporanei dell’arte.
L’INSTALLAZIONE (anni 60-70)
• Non indica una tecnica o un medium espressivo, ma il rapporto tra opere realizzate con diversi media e lo spazio destinato ad accoglierle, sia esso la galleria o un ambiente esterno.
• Superamento della concezione dell’opera come forma costruita, autocentrata e sostanzialmente autonoma dal contesto
• Il centro è occupato dal pubblico: il ruolo attivo dello spettatore nel tempo e nello spazio.
• Site specific
Gesamtkunstwerk
L’opera totale
BAUHAUS
1919-1925 Weimar
1925-1932 Dessau
1932-1933 Berlino
Walter Gropius
sede Dessau
Schlemmer's stage diagram for Gesture Dance,Bauhaus, 1926Figure in Space with Plane Geometry and Spatial Delineations.
OSCAR SCHLEMMERl'azione teatrale come la "pratica" dell'equazione tra attore e spazio
Brecht. "Mother Courage" 1939
Mayakovsky's BANYA "Bathhouse" 1930
Le futurisme 20 febbraio del 1909
primo manifesto teorico del futurismo, fatto pubblicare da Filippo Tommaso Marinetti
in «Le Figaro» – prima pagina
Two poster poems, 1918by Raoul Hausmann
Typographic poem "L’inconnu" from the year 1918by Raoul Hausmann
’Cabaret Voltaire’ in Zurich February 1916.
Kurt Schwitter’s "Gesetztes Bildgedicht/Arranged Picture Poem", created in 1922
Typographic photomontage, 1922Invitation to an exhibition of works of the French Dada artist Francis Pacabia, 1920
CLUB DADAfounded in Berlin (1918 - 1923)
Lajos Kassak, „Geräusche/Sounds“, 1920
"Die Scheuche", a joint work of Kurt Schwitters, Käte Steinitz and Theo von Doesburg
"Dada-Rundschau" by Hannah Höch, photomontage, 1920
Kurt Schwitters, the critic, 1921
Raoul Hausmann The Art Critic
1919-20
"Dada-Cino" 1920 in Genevaby Raoul Hausmann,
Hannah Hoch, Cut with the Kitchen Knife Through the First Epoch of the Weimar Beer-Belly Culture, 1919.
Kurt Schwitters,Merzbau, 1924-37
Marcel Duchamp, Bottle Rack (1914). Marcel Duchamp's Fountain, 1917
Ready-made
L'Enigme d'Isidore Ducasse 1920
Cast iron and nails 1921
Vénus restaurée 1936
Man Ray Il Detournmentovvero il metodo dello staniamento surrealista
Spazia l ismo 1947Lucio Fontana
L ’ i n f o r m a l e matericoAlberto Burri1949 SZ1
Il Grande Cretto Alberto Burri. Gibellina 1968
Yves Klein, "Le Vide," Galerie Iris Clert, Paris, 1958
ARMAN Le Plein, 1960
Image Credit: © Marcel Duchamp, Mile of String, 1942, New York
In 1942, Andre Breton organised a retrospective exhibition of Surrealist art in New York: First Papers of Surrealism. For the vernissage Marcel Duchamp created this installation – a gigantic web – called the Mile of String. He and Breton furthermore arranged for a number of children to ball in the room thereby making it very difficult for the guests to see the paintings.
Morris: untitled L-beams, 1965 (stainless steel, each 96 x 96 x 24") with work by Sol LeWitt on the walls
LO SPAZIO MINIMALISTA
Judd: untitled, 1969 (stainless steel and blue plexiglass, ten units, total 172 x 40 x 31")
Sol Lewitt: Cube Structure based on Nine Modules (Floor/wall piece #9), 1976-7
Sol Lewitt
D O N A L D J U D D , U N T I T L E D ( 1 9 7 2 ) .
Judd Untitled 1976
Christo - Le diable1963materiali vari, cm 122x100x66Mart, collezione Ileana Sonnabend, Rovereto
NUOVO REALISMO E LAND ART
L’inizio dell’arte SITE SPECIFIC
Robert Smithson, Spiral Jetty (Great Salt Lake, Utah, 1970).
Richard Serra, Tilted Arc (1981-9).
Running FenceChristosculpture1972-76 (Earthwork)
Christo, Surrounded Islands Project (collage, 1981).
Christo, Project for Wrapped Reichstag (collage, 1994).
Wrapped Reichstag, Berlin, 1971-95
POP ART: LA SOCIETA’ DEL CONSUMO OGGETTO D’ARTE
Andy WarholSleep 1963
Yves Klein, International Klein Blue (IKB), 1958
Perfomance & Happening
Jim Dine The Crash #21960 Jim Dine The Crash #51960 Jim Dine The End of the Crash1960
Gutai Bijutsu Kyokai (Gutai Art Association)formed in 1954 in Osaka
by Yoshihara Jiro, Kanayma Akira,
Murakami Saburo, Shiraga Kazuo,
Shimamoto Shozo
Gilbert & George A Portrait of the Artists as Young Men
1970
Joseph Beuys From the Eurasien Staff
1973 Bruce Nauman a1970
Performance art
1963
FLUXUS: L’ARTE COME IMPEGNO SOCIALE IMPORTARE L’ARTE NELLA VITA SOCIALE Vs La VITA REALE NELL’ARTE DEL MOVIMENTO POP
George Maciunas: The Dream of Fluxus
Fluxus Street Theatre by George Maciunas, Copyright: © 2007 Gilbert and Lila Silverman Fluxus Collection Foundation, Detroit.
Joseph Beuys: The Pack
Allan Kaprow: Push and Pull
Nam Jun Paik: TV Cello
Wolf Vostell: Decollage
Guy Debord »Ich liebe meine Kamera, weil ich es liebe zu leben«
PortapakFrom Wikipedia, the free encyclopedia
First introduced in 1967, the Portapak was the first portable video recording device. The first Portapak-type video recorder was the Sony CV-2400 Video Rover, which allowed a single person to record video in the field.
"The first ”portable” video system, this two-piece set consisted of a large B&W camera and a separate record-only helical ½” VCR unit. It required a Sony CV series VTR to play back the video. Even though it was clunky and heavy, it was light enough for a single person to carry it around. However, it was usually operated by a crew of two - One shot the camera and one carried and operated the VCR part."[1]The introduction of the Portapak had a great influence on the development of Video art. Footage could be played back instantly instead of waiting to process film, and, at less than a thousand (1967) dollars, it was much more affordable than film or existing television cameras.[1]
Suddenly motion pictures became accessible to artists, experimenters, and social commentarians, not just well funded establishment production companies.
The Portapak would seem to have been invented specifically for use by artists. Just when pure formalism had run its course; just when it became politically embarrassing to make objects, but ludicrous to make nothing; just when many artists were doing performance works but had nowhere to perform, or felt the need to keep a record of their performances; just when it began to seem silly to ask the same old Berkleean question, 'If you build a sculpture in the desert where no one can see it, does it exist?'; just when it became clear that TV communicates more information to more people than large walls do; just when we understood that in order to define space it is necessary to encompass time; just when many established ideas in other disciplines were being questioned and new models were proposed - just then the Portapak became available.[2]
Lord of the Universe, which won a 1974 DuPont-Columbia Award,[3][4][5] was the first Portapak documentary produced for national television.[6]
[edit]
References 1. ^ a b Shapiro, Mark (2006) "The History of Camcorders" (HTML) San Diego, CA: Internet Video Magazine . Retrieved 2009-12-27 2. ^ Hermine, Freed (1976) "Where do we come from? Where are we? Where are we going?" in Ira Schneider & Beryl Korot Video Art: An Anthology (1st ed.)
New York: Harcourt Brace Jovanovich ISBN 0151936322 . Retrieved 2009-12-27 3. ^ DuPont-Columbia Award, Columbia University, The Journalism School, The Lord of the Universe
The Lord of the Universe, Subject: RELIGION, News Organization: TVTV, Awarded: 1974, Summary, Silver baton. 16-year-old Guru Maharaj Ji and his American following at a three day spiritual festival. Producer: David Loxton., Jurors' Comments, TVTV and WNET/13ʼs "The Lord of the Universe," a 60-minute report on Guru Maharaj Ji, was, according to the jurors, hectic, hilarious and not a little disquieting. With a heavier and less sure hand, the subject would have been squashed beneath the reportersʼ irony or contempt. As it was, cult religion was handed to us, live and quivering, to make of it what we would., Original Air Date: 2/24/1974 Total Running Time: 01:00:00, Archive Number: 1973/74.9.TV
4. ^ Lord of the Universe, Video Data Bank, retrieved 1/18/07. 5. ^ Electronic Arts Intermix, "The Lord of the Universe", 1974, TVTV, retrieved 1/18/06.
Awarded the Alfred I. du Pont/Columbia University Award in Broadcast Journalism, The Lord of the Universe is a forceful expose on the sixteen-year-old Guru Maharaj Ji and the national gathering of his followers at the Houston Astrodome -- Millennium 73, billed as the "most significant event in the history of humanity."
6. ^ Top Value Television, biography, 2007, Electronic Arts Intermix.TVTV's innovative verite journalism included an award-winning expose on the Guru Maharaj Ji and his followers, The Lord of the Universe (1974), which was the first Portapak video documentary produced for national television.
Portapak Sony CV-2400 Video Rover 1967
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