Installation Art and Experience
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September/October 2016 Volume 15, Number 5 Inside
SEPTEMBER/OCTOBER 2016 VOLUME 15, NUMBER 5 INSI DE Chengdu Performance Art, 2012–2016 Interview with Raqs Media Collective on the 2016 Shanghai Biennale Artist Features: Cui Xiuwen, Qu Fengguo, Ying Yefu, Zhou Yilun Buried Alive: Chapter 1 US$12.00 NT$350.00 PRINTED IN TAIWAN 6 VOLUME 15, NUMBER 5, SEPTEMBER/OCTOBER 2016 C ONT ENT S 23 2 Editor’s Note 4 Contributors 6 Chengdu Performance Art, 2012–2016 Sophia Kidd 23 Qu Fengguo: Temporal Configurations Julie Chun 36 36 Cui Xiuwen Patricia Eichenbaum Karetzky 48 Propositioning the World: Raqs Media Collective and the Shanghai Biennale Maya Kóvskaya 59 The Good, the Bad, and the Ugly Danielle Shang 48 67 Art Labor and Ying Yefu: Between the Amateur and the Professional Jacob August Dreyer 72 Buried Alive: Chapter 1 (to be continued) Lu Huanzhi 91 Chinese Name Index 59 Cover: Zhang Yu, One Man's Walden Pond with Tire, 2014, 67 performance, one day, Lijiang. Courtesy of the artist. We thank JNBY Art Projects, Chen Ping, David Chau, Kevin Daniels, Qiqi Hong, Sabrina Xu, David Yue, Andy Sylvester, Farid Rohani, Ernest Lang, D3E Art Limited, Stephanie Holmquist, and Mark Allison for their generous contribution to the publication and distribution of Yishu. 1 Editor’s Note YISHU: Journal of Contemporary Chinese Art PRESIDENT Katy Hsiu-chih Chien LEGAL COUNSEL Infoshare Tech Law Office, Mann C. C. Liu Performance art has a strong legacy in FOUNDING EDITOR Ken Lum southwest China, particularly in the city EDITOR-IN-CHIEF Keith Wallace MANAGING EDITOR Zheng Shengtian of Chengdu. Sophia Kidd, who previously EDITORS Julie Grundvig contributed two texts on performance art in this Kate Steinmann Chunyee Li region (Yishu 44, Yishu 55), updates us on an EDITORS (CHINESE VERSION) Yu Hsiao Hwei Chen Ping art medium that has shifted emphasis over the Guo Yanlong years but continues to maintain its presence CIRCULATION MANAGER Larisa Broyde WEB SITE EDITOR Chunyee Li and has been welcomed by a new generation ADVERTISING Sen Wong of artists. -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
Old Furnace Artist Residency: Art Is a Conjunction Jon William Henry James Madison University
James Madison University JMU Scholarly Commons Masters Theses The Graduate School Spring 2016 Old Furnace artist residency: Art is a conjunction Jon William Henry James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/master201019 Part of the Fine Arts Commons, and the Sculpture Commons Recommended Citation Henry, Jon William, "Old Furnace artist residency: Art is a conjunction" (2016). Masters Theses. 105. https://commons.lib.jmu.edu/master201019/105 This Thesis is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Masters Theses by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Old Furnace Artist Residency Jon Henry A thesis submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Master of Fine Arts School of Art, Design & Art History April 2016 FACULTY COMMITTEE: Committee Chair : Greg Stewart Committee Members/ Readers: Stephanie Williams Rob Mertens Table of Contents Abstract ............................................................................................................................... ii Intro ..................................................................................................................................... 1 Conceptual Background ...................................................................................................... 8 Pushback .......................................................................................................................... -
Art Analysis
Art Analysis Joseph Beuys 7000 Eichen (7000 Oaks), starting 1982 In 1982 Joseph Beuys began his action/installation of 7000 Private collectors bought the stones, thereby financing the Oaks at the seventh edition of the contemporary art show planting of an oak tree in Kassel. This city is an extremely Documenta (held once every five years in Kassel) and it was symbolic place since it used to be the centre of arms pro- only finished, symbolically, by his son Wenzel at the next duction for all of Germany, a fact which caused it to be razed Documenta in 1987, one year after the artist’s death. to the ground during the Second World War. In reality this is a temporally undefined piece since its dura- Through this work, Beuys speaks of the need for a new and tion is programmed for only as long as the final surviving tree lasting alliance between man and nature but also of the of the 7000 mentioned in the title. Potentially this work could need to eradicate wars and to turn destructive energy into last until the end of the current ecosystem. building for society. On March 16, 1982 Beuys planted the first oak tree in the Today all the oak trees have been planted and the basalt centre of the Friederich Square in Kassel, right in front of the blocks put in place. Friedericianum, the building that traditionally hosts the main At the basis of 7000 Oaks there is a concept of transforma- section of the Documenta show. tion, an aspect that concerns both time, expressed symboli- The action originates from the following system: 7000 prism- cally through the oaks growth, and space, which undergoes shaped blocks of basalt coming from Kassel’s mining area were change as the trees develop. -
Joseph Beuys' Unknown Gastrosophy Author(S)
The extended art of eating: Joseph Beuys' unknown Title gastrosophy Author(s) Lemke, Harald SANSAI : An Environmental Journal for the Global Citation Community (2007), 2: 53-65 Issue Date 2007-03 URL http://hdl.handle.net/2433/108252 Right Type Journal Article Textversion publisher Kyoto University ῍ῌ The extended art of eating: Joseph Beuys’ unknown gastrosophy H6G6A9 L:B@: Abstract: The German artist Joseph Beuys is well known for his notion of “extended art”. This article focuses on Beuys’ lesser known extended “art of eating”, through which we may understand his philosophy of food or gastrosophy. Focusing on three universal food practices and their political and philosophical implications, Beuys presented home cooking as a potential art of living, foodstuffs as art objects, and the ecological rebirth of agriculture as a “social sculpture”. By suggesting that alternative methods of farming and biotechnology are necessary if the global economy and methods of agricultural production are to be run in accordance to principles of social justice and sustainability, Beuysian gastrosophy helped to prepare the humanistic and ecological foundations for Germany’s Die Grünen (Green) party ῌ a party of which Beuys was a founding member. For Beuys, modern industrial society’s transformation depended not solely but essentially on the question of whether real changes could be made in agricultural production, our consumption patterns and, ultimately, in the way we eat. This “way” is portrayed by Beuys’ extended art of eating as an ethically or gastrosophically correct everyday cuisine. Keywords: “der erweiterte Kunstbegriff” (extended notion of art), philosophy of food, aesthetics, “eat art”, Joseph Beuys, environmental ethics Introduction Any attempt to discuss a philosophy of food ῌ or “gastrosophy” ῌ must start with the theoretical challenge of a relatively new discipline in Western philosophy, namely food ethics. -
Project Report
Caroline Wendling / Oaks & Amity / 2014-2015 Project Report Oaks & Amity Caroline Wendling PROJECT REPORT 1. Introduction 2. The Artist and Shadow Curator Caroline Wendling Lotte Juul Petersen 3. The Project and Work Context The Project Events + Research 4. Main Event The White Wood Planting 5. Shadow Curator Report 6. Marketing Printed Material and Mail/Email Shots Advertising Online Marketing 7. Education / Outreach Programme Artist Talk The Gordon Schools Community Outreach Attendance Numbers 8. Media 9. Comments / Reflections / Evaluation Evaluation 10. Publication 11. Funding and Thanks 12. Appendix Oaks and Amity: Call for Proposal Action Plan for Oaks & Amity How to Plant a Tree Of Trees and Time, Alan Macpherson Notes from Kassel, Elisabetta Rattalino Project Report: Caroline Wendling, Oaks & Amity Oaks & Amity Caroline Wendling 1. Introduction Artist Caroline Wendling joined Deveron Arts in the autumn of 2014 to develop her project, Oaks & Amity; a project developed in response to the occasion of the centenary of the outbreak of World War One. It is a project that explored the link between ecology and art, between friendship and cooperation, precariousness and peace, one hundred years after the First World War. Through her investigation into the local history of both the First and Second World Wars, Caroline became particularly interested in the stories of local conscientious objectors and pacifists. Caroline worked with a multitude of local groups, including the Gordon Schools, Forestry Commission and war veterans, and produced a series of events exploring notions of peace and friendship in post war Europe. The major output of the project was the planting of a symbolic White Wood just outside Huntly. -
REMEDIATIONS. Art in Second Life"
Hz #11 - "REMEDIATIONS. Art in Second Life" HOME ARTICLES NET GALLERY --- --- REMEDIATIONS. Art in Second Life Domenico Quaranta Second Life [1]: hardly a day goes by without it being talked about. The media success of the virtual world launched in 2003 by the Californian company Linden Labs appears to be on a par only with its user popularity (around 10 million residents as I write) and commercial success. These three things are obviously closely connected: people flock to SL, companies follow, the media talks about it and this attracts new people and new companies. The hype – which strangely enough, as activist and media critic Geert Lovink [2] notes, is fed by "old school broadcast and print media and the wannabe cool corporations" is starting to show its first cracks [3], and while on the one hand it has served to make concepts like "avatar", "virtual worlds" and "social networks" popular, on the other, with its uncritical enthusiasm and superficiality, it has created false expectations that risk leading to an equally uncritical condemnation of a context that does have its problems, but is undeniably rich in potential. It's all true: the habitual users of SL represent a ludicrously tiny percentage of the 10 million curious visitors who set up an account for a single visit, without ever following it up; the only returns on the million dollar investments made by the big companies have been in terms of publicity, while their virtual headquarters are usually deserted; SL's graphic engine and scripting language are vastly inferior to those of other virtual worlds; its world is built around a trashy, kitsch aesthetic; the prevalent image is that of "a mega milkshake of pop culture" [4], and life revolves mainly around the banal repetition of real-life rituals (having sex, going dancing, and attending parties, openings and conferences) and the same principles: private property, wealth and consumption. -
History of Modern Art Painting Sculpture Architecture Photography
HISTORY OF MODERN ART PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY SEVENTH EDITION LK024_P0001EDarmason_HoMA_FM_Combined.indd i 14/09/2012 15:49 LK024_P0001EDarmason_HoMA_FM_Combined.indd ii 14/09/2012 15:49 HISTORY OF MODERN ART PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY SEVENTH EDITION H.H. ARNASON ELIZABETH C. MANSFIELD National Humanities Center Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montréal Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo LK024_P0001EDarmason_HoMA_FM_Combined.indd iii 14/09/2012 15:49 Editorial Director: Craig Campanella This book was designed and produced by Editor-in-Chief: Sarah Touborg Laurence King Publishing Ltd, London Senior Sponsoring Editor: Helen Ronan www.laurenceking.com Editorial Assistant: Victoria Engros Production Manager: Simon Walsh Vice President, Director of Marketing: Brandy Dawson Page Design: Robin Farrow Executive Marketing Manager: Kate Mitchell Photo Researcher: Emma Brown Editorial Project Manager: David Nitti Copy Editor: Lis Ingles Production Liaison: Barbara Cappuccio Managing Editor: Melissa Feimer Senior Operations Supervisor: Mary Fischer Operations Specialist: Diane Peirano Senior Digital Media Editor: David Alick Media Project Manager: Rich Barnes Cover photo: Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912 (detail). Oil on canvas, 58 ϫ 35” (147.3 ϫ 88.9 cm). Philadelphia Museum of Art. page 2: Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884–86 (detail). 1 1 Oil on canvas, 6’ 9 ∕2” ϫ 10’ 1 ∕4” (2.1 ϫ 3.1 m). The Art Institute of Chicago. Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook appear on the appropriate page within text or in the picture credits on pages 809–16. -
Installation Art 1 Installation Art
Installation art 1 Installation art Installation art describes an artistic genre of site-specific, three-dimensional works designed to transform a viewer's perception of a space. Generally, the term is applied to interior spaces, whereas exterior interventions are often called Land art; however the boundaries between these terms overlap. History Installation art can be either temporary or permanent. Installation artworks have been constructed in exhibition spaces such as museums and galleries, as well as public- and private spaces. The genre incorporates a very broad range of everyday and natural materials, which are often chosen for their evocative qualities, as well as new media such as video, sound, performance, immersive virtual reality and the internet. Many installations are site-specific in that they are designed to exist only in the space for which they were created. A number of institutions focusing on Installation art were created from the 1980s onwards, suggesting the need for Installation to be seen as a separate discipline. These included the Mattress Factory, Pittsburgh, the Museum of Installation in London, and the Fairy Doors of Ann Arbor, MI, among others. Installation art came to prominence in the 1970s but its roots can be identified in Marcel Duchamp, Fountain, 1917. earlier artists such as Marcel Duchamp and his use of the readymade and Kurt Photograph by Alfred Stieglitz Schwitters' Merz art objects, rather than more traditional craft based sculpture. The intention of the artist is paramount in much later installation art whose roots lie in the conceptual art of the 1960s. This again is a departure from traditional sculpture which places its focus on form. -
From Margin to Center: the Spaces of Installation
“Reiss offers a lucid argument for rethinking ‘Installation art’ and its challenge to the repressive and restrictive terms of the modernist art object. Her revisionism is a refreshing departure from the essentially formalist canon that continues to dis- tort the meaning and implications of the radical aesthetics of the 1960s.” —Maurice Berger, Senior Fellow, The Vera List focus is installations created in New Center for Art & Politics, New School for Social Reiss York City—which has a particularly Research Julie H. Reiss rich history of Installation art— Julie H. Reiss beginning in the late 1950s. She takes Margin From “Reiss’s narration of the progress of Installation From us from Allan Kaprow’s 1950s envi- art from alternative to mainstream is clear, well ronments to examples from minimal- Margin researched, and cogently argued.This book fills a ism, performance art, and process art toCenter void in the field of contemporary art history.” to establish Installation art’s autono- —Tom Finkelpearl, Program Director, P.S. 1 From The Spaces of Installation Art my as well as its relationship to other Contemporary Art Center movements. to Center Margin Recent years have seen a surge of Book and jacket design by Jean Wilcox. Unlike traditional art works, Installa- “From Margin to Center is a much-needed first his- interest in the effects of exhibition Front cover: Installation view of the exhi- tion art has no autonomous existence. tory of the development of Installation art in space, curatorial practice, and institu- bition A Sculpture by Herbert Ferber to Create It is usually created for a particular America. -
Installation Art and Experience
INTRODU INSTALLATION ART AND EXPERIENCE What is installation art? 'Installation art' is a term that loosely refers to the type of art into which the viewer physically enters, and which is often described as 'theatrical', 'immersive' or 'experiential'. However, the sheer diversity in terms of appearance, content and scope of the work produced today under this name, and the freedom with which the term is used, almost preclude it from having any meaning. The word 'installation' has now expanded to describe any arrangement of objects in any given space, to the point where it can happily be applied even to a conventional display of paintings on a wall. But there is a fine line between an installation of art and installation art. This ambiguity has been present since the terms first came into use in the r 960s. During this decade, the word 'installation' was employed by art magazines to describe the way in which an exhibition was arranged. The photographic documentation of this arrangement was termed an 'installation shot', and this gave rise to the use of the word for works that used the whole space as 'installation art'. Since then, the distinction between an installation of works of art and 'installation art' proper has become increasingly blurred. What both terms have in common is a desire to heighten the viewer's awareness of how objects are positioned (installed) in a space, and of our bodily response to this. However, there are also important differences. An installation of art is secondary in importance to the individual works it contains, while in a work of installation art, the space, and the ensemble of elements within it, are regarded in their entirety as a singular entity. -
New Practices, New Pedagogies
INNOVATIONS IN ART AND DESIGN NEW PRACTICES NEW PEDAGOGIES a reader EDITED BY MALCOLM MILES SWETS & ZEITLINGER / TAYLOR & FRANCIS GROUP 2004 Printed in Copyright © 2004 …… All rights reserved. No part of this publication of the information contained herein may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, by photocopying, recording or otherwise, without written prior permission from the publishers. Although all care is taken to ensure the integrity and quality of this publication and the information herein, no responsibility is assumed by the publishers nor the authors for any damage to properly or persons as a result of operation or use of this publication and/or the information contained herein. www ISBN ISSN The European League of Institutes of the Arts - ELIA - is an independent organisation of approximately 350 major arts education and training institutions representing the subject disciplines of Architecture, Dance, Design, Media Arts, Fine Art, Music and Theatre from over 45 countries. ELIA represents deans, directors, administrators, artists, teachers and students in the arts in Europe. ELIA is very grateful for support from, among others, The European Community for the support in the budget line 'Support to organisations who promote European culture' and the Dutch Ministry of Education, Culture and Science Published by SWETS & ZEITLINGER / TAYLOR & FRANCIS GROUP 2004 Supported by the European Commission, Socrates Thematic Network ‘Innovation in higher arts education