What is Installation? - Nicholas Zurbrugg

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Art & Installation

A FUSION WOK OF architecture AND installation

There must become a natural end point to both art and architecture; whether or not this cessation ends in a culmination of ideals or an abrupt reaction against the present is yet to be seen.

1. Do we accept the current and near future status quo in terms of our liberal attitudes towards interdisciplinary experimentation and implementation and foresee a future where we will inhabit installations and the very nature of the installation will become irrelevant and just a part of life.

2. Separate parties seek to preserve the purity of their form and rally together to create distinction and use for their individual crafts. Installations for Art and entertainment; Architecture for habitation.

In his second paragraph Zurburgg almost destroys the very nature and necessity for installation art, he points out that installation works are those works that are done by artists, which involve:

INSIDE

OUTSIDE

LARGE

SMALL

PAINTING

VIDEO

PHOTOGRAPHY

LINOGRAPHY

SCULPTURE

PERFORMANCE

INTERACTIVE

LINEAR

MANMADE

ORGANIC

Installation works seem to have come about from a need for artists rationalise the lack of stand-alone substance in their work, therefore relying audiences engagement with space to elicit an affect. Zurburgg goes on to list the historical beginnings of installation, obviously this is done in hindsight but it seems installation is any structure or earthly change that is created with out an everyday practical use [by todays standards]. It would seem that from all the artists Zurburgg has decided to investigate: John Cage, Tracey Emin, Duchamp et al, he is trying to find contrasting attributes that would make installation a valid form and not just: what artitst make OR anything that is ever made.

Le Corbusier an architect, however the buildings he designed for the public sector were absolute failures. This leads me to believe the Le Corbusier was an installation artist [since i have succinctly proven that he wasn't an architect[. He created his own concepts around the way (should) live, he thought he could impart his own controls on the system of living through architectural choices.

BYZANTINE NETWORKS OF WAFFLE

Art & Globalisation (Globalization)

Many discussions on globalisation and it's relation to the art world seem to get bogged down in the good vs bad scenario: for example, the artist is able to find far reaching resources for reference; however he/she losses the connection to their sense of place. Following this course of enquiry is a zero sum game. We also loose focus to the real effect that globalisation has on our lives; that is, the way we think.

Today we think quick, we think with facts and we think through reference rather than empirical evaluation. With globalisation and the free market, which is the cause to the effect, we become more and more aware to the existence and creation of complicated systems. Hyper connected systems like the internet and even the way our food is created are blessed curses of the free market. Living in a complex network makes us think like complex networks, creating links that overlap, envelope and collapse [in which case the global financial crisis is the economic equivalent of a theory that tries to relate James Waldegraves first example of Game theory to the back catalogue of Sinead O'Conner, until you realise that Sinead O'Conner is bald by choice].

Now the internet is an aspect of globalisation and it came into fruition because of the free market [this can be argued], this is an example of a complex network inside a complex network, with those networks are other networks and within them are many more. Our world is far to complex to make sense of which is why we don't, we make bullet points in our mind and we search for the same type of system of knowledge allocation when we try and learn new things.

I don't know what I'm getting at, but I think it's quite safe and absolutely unreasonable to say: everything is everything and nothing really matters.

ART & SPIRITUALITY

etoy.CORPORATION

From what I can disseminate; they seem to be a german art collective based around what I consider to be quite challenging ideas of artistic practice, expression, display, lady dar et al even by todays generally held ideas of the art world.

They work in weird area's, you can buy shares in they're company, which sort of makes you a patron, you can "download"

works, you can get involved in the way the corporation (etoy.CORPORATION) is run.

They are very strange, inclusive and ardent in the way they run things, they are for spreading knowledge/content and also strong believers in intellectual property rights, however they have a different form of DRM than traditional new media peeps. They're ideas on (and I use DSM as example) on the way they protect their digital artworks is just as important it seems as the works themselves, they seem to believe (and I have faith) that they have realised the utopian future the online space, how we interact, send and deal with data.

Is this the future, or are they just cashed up matrix fanboys?

Bruce Nauman

Stairway

Plaster Steps

I'm not to sure why I thought these were relevant, but it does have something to do with the notion that both these objects aren't exactly what you think they are, you identify with them in the wrong way so that they're practicality is skewed, but then it isn't, but then it is, but then it isn't, but then it is.9999999999 recurring.

Also something to do with investigating the way we relate to a material or an objects identity, and not just the cultural designators of the hominid.

The Greatest Living Artist Of Our Time

Tom Leppard aka the Leopard Man covered his body in leopard like spots and fled society, living in a shack on the Isle of Skye.

He's clearly mad, but more advanced in thinking that the rest of us. We couldn't possibly understand the allegorical significance of his life, so I won't try.

He probably has syphilis, hence the madness. (not the band)