"Performative installation is a five-part series of exhibitions initiated by Siemens Arts Program in cooperation with Galerie im Taxispalais, Innsbruck; Museum Ludwig, Cologne; Museum fur Gegenwartskunst Siegen; Secession, Vienna; and, Galerie fur Zeitgenossische Kunst, Leipzig."--p.[253]. Artists include: Victor Alimpiev and Marian Zhunin, Emanuelle Antille, Maja Bajevic and Emanuel Licha, BLESS, John Bock, Monica Bonvicini, Angela Bulloch, Janet Cardiff & George Bures Miller, Brice Dellsperger, Ayse Erkmen, Andreas Fogarasi, Jef Geys, Oliver Hangl, Swetlana Heger, Jeppe Hein, Christine and Irene Hohenbuchler, Stefan Kern, Karl-Heinz Klopf, Sigrid Kurz, Dorit Margreiter, John Miller, Olaf Nicolai, Rene Pollesch, Pro qm, Lily van der Stokker, Apolonija Sustersic, and Swinger.
New forms of art, culture and theory have recently emerged through engagements with the realities of the social world and everyday life which are not primarily about representation but rather about participation and narration. These new forms are based on viewer responses and engagement, thus performatively creating open-ended situations rather than autonomous works with closure. Performative theory, drawing mostly on studies of speech acts, proves adequate to describe and analyse these new forms of art and culture and their engagement with the real. Performative Realism scrutinizes a range of contemporary works that experiment with audience participation and processuality within art and culture, as well as it takes issue with theories of performativity and performance. Performative Realism contains contributions from leading Danish scholars working within a broad range of academic fields such as Media Studies, Art History, Theatre Studies and Cultural Studies. The issues addressed covers Scandinavian as well as international installation art, performance art, theatre, photography, movies, literature and role-playing.
Installationskunsten har gået sin sejrsgang verden over, og er her i det 21. århundrede en både vel- og anerkendt bestanddel af samtidskunsten. Med påvirkning fra og udveksling mellem billedkunst på den ene side og performanceteater på den anden befinder installationskunst sig – som bogens titel viser – netop i feltet mellem billede og scene. I Installation Art: Between Image and Stage undersøger Anne Ring Petersen grundstenene for en af nutidens mest udbredte kunstformer. Installationer er – ligesom skulpturer – tredimensionelle formationer eller billeddannelser, men i modsætning til skulpturen er installationen karakteriseret ved at være formet af rum eller rumlige scenografier, som skaber betydning og sanseoplevelser gennem sit billedsprog. Som resultat af dette er installationer ofte stort anlagte kunstværker, som beskueren kan gå ind i, og de lever dermed til fulde op til nutidens krav om spektakulære, æstetisk iscenesatte events og kulturoplevelser, der taler til sanserne. Gennem grundige analyser af værker af kunstnere som Bruce Nauman, Olafur Eliasson, Jeppe Hein, Mona Hatoum, Pipilotti Rist og Ilya Kabakov som bagtæppe søges der i denne bog svar på, hvad en installation egentlig er, hvilke virkemidler den bruger, hvordan installationskunstens opståen kan forklares i et kulturhistorisk perspektiv og meget mere. Også installationskunstens rumlige, tidsmæssige og diskursive aspekter såvel som dens receptionsæstetik, der sættes ind i en overordnet kunst- og kulturhistorisk ramme, undersøges. Installation Art: Between Image and Stage er et nyttigt værk for alle, der ønsker at forstå denne mangefacetterede kunstforms konceptuelle fundament. Anne Ring Petersen, dr.phil., er lektor ved Institut for Kunst og Kulturvidenskab, Københavns Universitet. Har i 2009 udgivetInstallationskunsten mellem billede og scene og er redaktør af Contemporary Painting in Context (2010). Despite its large and growing popularity — to say nothing of its near- ubiquity in the world’s art scenes and international exhibitions of contemporary art — installation art remains a form whose artistic vocabulary and conceptual basis have rarely been subjected to thorough critical examination. In Installation Art: Between Image and Stage, Anne Ring Petersen aims to change that. She begins by exploring how installation art developed into an interdisciplinary genre in the 1960s, and how its intertwining of the visual and the performative has acted as a catalyst for the generation of new artistic phenomena. She investigates how it became one of today's most widely used art forms, increasingly expanding into consumer, popular and urban cultures, where installation's often spectacular appearance ensures that it meets contemporary demands for sense-provoking and immersive cultural experiences. The main trajectory of the book is directed by a movement aimed at addressing a series of basic questions that get at the heart of what installation art is and how it is defined: How does installation structure time, space and representation? How does it address and engage its viewers? And how does it draw in the surrounding world to become part of the work? Featuring the work of such well-known artists as Bruce Nauman, Pipilotti Rist, Ilya Kabakov and many others, this book breaks crucial new ground in understanding the conceptual underpinnings of this multifacious art form. Anne Ring Petersen is associate professor in the Department of Arts and Cultural Studies at the University of Copenhagen and the editor of Contemporary Painting in Context.
„Yingmei Duan“ ist das zentrale Medium von Yingmei Duans Performancekunst: ihre Präsenz, ihr Körper und ihre Identität; die Emotionen in ihrem Herzen, die Neugier in ihren Augen und die Lieder auf ihren Lippen. Sie verwandelt Räume und Objekte in Erweiterungen ihrer selbst. In ihre Werke einzutreten bedeutet, in die Welt von Yingmei Duan einzutreten, in der wir erkennen, dass Kunst kein Privileg ist, sondern ein Wert, der durch gleichberechtigte Zusammenarbeit und Kommunikation geschaffen werden kann. - Li Qi “Yingmei Duan” is the primary medium of Yingmei Duan's performance art: her presence, her body, and her identity; the emotions in her heart, the curiosity in her eyes, and the songs on her lips. She transforms space and objects into extensions of herself. Entering her works means entering the world of Yingmei Duan, where we realise that art is not a privilege, but a value that can be created through equal collaboration and communication. - Li Qi “段英梅”是段英梅行为艺术的首要媒介：她的在场、她的身体、她的身份，她内心的情感，她眼里的好奇，她口中的歌 声。她让空间与物件成为她的化身——进入她的作品，就是进入段英梅的世界。她的世界让我们意识到，艺术不是一种特 权，而是一种可以在平等合作与交流分享中创造的价值。 —— 李棋
The Handbook of Interior Architecture and Design offers a compelling collection of original essays that seek to examine the shifting role of interior architecture and interior design, and their importance and meaning within the contemporary world. Interior architecture and interior design are disciplines that span a complexity of ideas, ranging from human behaviour and anthropology to history and the technology of the future. Approaches to designing the interior are in a constant state of flux, reflecting and adapting to the changing systems of history, culture and politics. It is this process that allows interior design to be used as evidence for identifying patterns of consumption, gender, identity and social issues. The Handbook of Interior Architecture and Design provides a pioneering overview of the ideas and arrangements within the two disciplines that make them such important platforms from which to study the way humans interact with the space around them. Covering a wide range of thought and research, the book enables the reader to investigate fully the changing face of interior architecture and interior design, while offering questions about their future trajectory.
Bringing together cultural history, visual studies, and media archaeology, Bruno considers the interrelations of projection, atmosphere, and environment. Projection has long been transforming space, from shadow plays to camera obscuras and magic lantern shows. Our fascination with projection is alive on the walls of museums and galleries and woven into our daily lives. Giuliana Bruno explores the histories of projection and atmosphere in visual culture and their continued importance to contemporary artists who are reinventing the projective imagination with atmospheric thinking and the use of elemental media. To explain our fascination with projection and atmosphere, Bruno traverses psychoanalysis, environmental philosophy, architecture, the history of science, visual art, and moving image culture to see how projective mechanisms and their environments have developed over time. She reveals how atmosphere is formed and mediated, how it can change, and what projection can do to modify a site. In so doing, she gives new life to the alchemic possibilities of transformative projective atmospheres. Showing how their “environmentality” produces sites of exchange and relationality, this book binds art to the ecology of atmosphere.
La Pocha Nostra: A Handbook for the Rebel Artist in a Post-Democratic Society marks a transformation from its sister book, Exercises for Rebel Artists, into a pedagogical matrix suited for use as a performance handbook and conceptual tool for artists, activists, theorists, pedagogues, and trans-disciplinary border crossers of all stripes. Featuring a newly reworked outline of La Pocha Nostra's overall pedagogy, and how it has evolved in the time of Trump, cartel violence, and the politics of social media, this new handbook presents deeper explanations of the interdisciplinary pedagogical practices developed by the group that has been labeled "the most influential Latino/a performance troupe of the past ten years." Co-written by Guillermo Gómez-Peña in collaboration with La Pocha Nostra’s artistic co-director Saúl García-López and edited by Paloma Martinez-Cruz, this highly anticipated follow-up volume raises crucial questions in the new neo-nationalist era. Drawing on field experience from ten years of touring, the authors blend original methods with updated and revised exercises, providing new material for teachers, universities, radical artists, curators, producers, and students. This book features: Introductions by the authors and editor to Pocha Nostra practice in a post-democratic society. Theoretical, historical, poetic, and pedagogical contexts for the methodology. Suggestions for how to use the book in the classroom and many other scenarios. Detailed, hands-on exercises for using Pocha Nostra-inspired methods in workshops. A step-by-step guide to creating large-scale group performances. New, unpublished photos of the Pocha Nostra methods in practice. Additional texts by Reverend Billy and Savitri D., Dragonfly, Francesca Carol Rolla, VestAndPage, Micha Espinosa, Zulfikar Ali Bhutto, Praba Pilar, L. M. Bogad, Anuradha Vikram, and Annie Sprinkle and Beth Stephens, among many others. The book is complemented by the new book Gómez-Peña Unplugged: Texts on Live Art, Social Practice and Imaginary Activism (2008–2019).
This volume presents a scholarly investigation of the ways educators engage in artistic and contemplative practices – and why this matters in education. Arts-based learning and inquiry can function as a powerful catalyst for change by allowing spiritual practices to be present within educational settings, but too often the relationship between art, education and spirituality is ignored. Exploring artistic disciplines such as dance, drama, visual art, music, and writing, and forms such as writing-witnessing, freestyle rap, queer performative autoethnograph, and poetic imagination, this book develops a transformational educational paradigm. Its unique integration of spirituality in and through the arts addresses the contemplative needs of learners and educators in diverse educational and community settings.
