Art of installations part 1

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

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

Art of installations part 1

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