installation, testing in space as of the work. Installation, staging of the work as experimental.
The art installation is to put in the same space as the subject and the viewer. Reflection on a set design and construction of the work space is the artists of the second half of the twentieth century response to the logic of sensory absorption. In our dialogue and reflection on the impact of the work, spatial data and time are inflected by the senses. The development of usable space by physically connected spectator seems spacetime.
But well before the installation art in the twentieth century, the physical relationship and the staging of the paint already questioning this issue. The gaze becomes a sensory experience from the fourteenth century is a principle of installation, that is to say an active staging. What lies around the work naturally inflected perception of the viewer.
In our cycle space, time and sensory, installation can be seen as an outcome of the opening of the box scenic painting. Compensates for a physical invasion moral distance that the viewer can keep it with the table. Yet even if a movement of the paint can consider that the picture becomes independent and sufficient physical data and material outside are nevertheless not considered. The staging and its reflection can be considered an extra pictorial theatricality necessary to absorb the viewer. The simple act of valuing or not a work of art by its space and its light can be analyzed installatoire as a regime.
The system can therefore be regarded as an experiment and contemplative visual, physical and sensory.
The first example that we consider are large groups of polyptychs the fourteenth century. Thus, the game of sham developed in the central panel of the Coronation of the Virgin Lorenzo Veneziano can consider a work where the physical structure of the image serves as a gateway to the subject. The frame retains its ornamental role in unifying all the panels, and adds a staging force. It is not regarded as an artist Lorenzo Veneziano running the installation, but to understand that for increased visual impact, collusion between real space and imaginary space is supported.
Scenography attached to the main altarpiece of the fifteenth and sixteenth century that opens and closes one part of the same element. The work turns physically and temporally. The discovery of the interior panels, rich materials and colors, is opposed to treatment in grisaille exterior panels. Such an occurrence is changing the perception of the work, and especially the fact get into a temporality similar to the viewer. The facility produces a synchronization between a timing and temporality of the work.
The layout may even go much further. For the altarpiece by Mantegna, the sponsor has drilled an additional opening to bring natural light on the work of the artist. The composition of this conscious light side holding its own lighting adequacy. It modifies the reception area of the work to develop it but also aligns the artificial light with natural light from the church. Putting together a coherent visual dialogue space between the viewer and the fictive space of the painting in his approximation is increased.
Large sets of wooden panels of the fourteenth and fifteenth century when they are hung in a religious building belonging to a set design that starts out where architecture and sculpture come lead the viewer to develop the sacredness place. Once inside the progression leads to a rise leading up to the great altar panels to the appearance of an image of paradise. Today extracted from its structures, these works seem as for post production, autonomous, although they were part of a whole plant. This collusion was more involved in the work of murals.
In a private setting, reduction of sizes, explainable as a matter of production cost of the work, also plays in a physical proximity effect of the viewer. Indeed, the image is reduced in size, invites the beholder to come together and be absorbed visually. Modifying the frames in "close up" as to the virgins to the child, or even for Touraine diptych of Christ and blessing the Virgin in prayer, led the artist to a change allowing a reconciliation iconographic and physical development of a dialogue much more efficient and intimate.
The layout of the table following his command generates an evolution frame and size and space of representation. Next destination the artist from the fourteenth century, this desire contemplative absorption of the spectator, changes the images so that it acquires a greater efficiency of communication.
These features will be preserved in subsequent periods. As we note in Conference on the look of an amateur and in the contemplation on the format of the work plays with absorption or otherwise distancing. The size of the table remains attached to the subjects represented. Thus the hierarchy of genres that defines. The major topics must match the large and small issues small dimensions. This has an immediate physical consequence, faced with historical subjects, by their dimensions, we visually dominates and creates a distance. Would not that visually to embrace the whole composition must naturally decline slightly. Instead of a work for small as still lifes or else landscapes (Dutch seventeenth century) to enter the picture should basically come close. Moral and educational function of great historical paintings requires distance and retains a certain sacredness of the work. In contrast, in subjects more accessible, this desecration of the work allows viewers a confrontation can be a little more sensory.
In this dialogue between space and presentation space represented, we see that history painting is still the characters in their entirety. For portrait or still scenes activities Daily, cutting, trimming, tightening serves to bring the viewer from the subject. For example, a full-length portrait will immediately effect a more historical portrait framed from the waist up. By becoming aware of its effects space construction and representation of the body we can develop a hypothesis on the dialogue and rapprochement of the work of the beholder.
In the same attachment to the Louvre exhibition, large sizes occupy the central visual field, so they sontmis forward visually. This staging reflects an understanding of the focus of the viewer's eye on what it can be at eye level. In the private area, the construction is similar. For example, in Chanteloup, landscapes are above the door, while great paintings come to develop into the woodwork. The format works can even be defined by the space where they will enroll. The oval format Sylvia fleeing or wounded yet Amintas back to life in the arms of Sylvie are influenced by the organization of the woodwork.
This game of exhibition space between the table format and allows us to understand how artists are constantly challenged by the presentation space of the work.
regime installatoire bends the material and visual construction of the work itself.
The autonomy of the table as it develops in the nineteenth century can be likened to a certain loss of this principle. Yet all the artists are induced to make great compositions come to occupy government buildings or even private. So when Eugene Delacroix acquired a notebook conferences Chevreul at the Gobelins is to understand the impact of visual compositions monumental tapestries and apply them in his large compositions. When Monet waterlilies carries the structure of the piece before playing host works and dialogue with the completion of the works themselves. Whenever we observe that the collusion between the real and fictional spaces leads artists to enlarge the picture surface and makes it almost architectural composition. Unlike the academic models of historical subjects, the subjects more anecdotal monumentalization even mundane acts to an absorption and a confrontation with a spectator's augmented reality. The table shows that an antique still life can flourish on a canvas more than 2 m, and returns us to a scale Lilliputian. In proposing a format more and more, paint subjected to physical and visual absorption to increase the viewer senses the absorption and distribution of the sensible.
This story facility known to the nineteenth century are among the highlights. Gustave Courbet and build its own flag of realism to present his works. The architecture, attachment, and any noticeable visual element plays in a single direction of a claim of realism in painting and felt.
When modern artists stand out and distance themselves vis-à-vis a visual culture academic principles of clashes and demonstrations will be renewed. The artwork to be sensory and maintain a share corporation should build a new cocoon to increase its effectiveness. In the early twentieth century, this logic will see the birth of the principle of presenting a work of art on a white wall. The various avant-garde stage sets then develop the more destabilizing than the other. K. Malevich in the exhibition devoted to Suprematism this black square on white background in a corner of the room. And hooked up to the ceiling the table does wants more than a simple front surface of suitable height. He recorded exactly where in the interior Orthodox icons are hung. Habits visual observation of the painting becomes a questioning of its renewal in the twentieth century.
The Dadaists or even the surrealists, will saturate their display space to drown the audience in visual and written information. Thus in 1920 the Dada Fair in Berlin presents mannequins suspended from the ceiling, paint or collage works hung at any height on the walls, posters proclaiming slogans political or nihilistic see art. In parallel we see the artist's physical interventions within the space. At the same time as putting in place a structure installation, we see emerging in the art of the twentieth century performance. If the facility is an activation of an area where the work becomes the viewer, performance allows exactly the same point of view of time. Film, sound recordings are ways to activate the time in a work that was being built in far space. Raoul Hausmann said in the text of the Manifesto of 1921 introduces the new art is the cinema.
For pictorial work of abstract painters is being self-sufficient. However, limited by the paintings of small or medium size, the table does not generate the desired physical impact. In the '40s, the United States, artists have begun to increase the size of the canvas. Two reasons seem to explain this fact, the painter becomes active by its movement and expressive face to the canvas (action painting) it can not be limited to taking a canvas on an easel. It is an arena where it penetrates. Second element, paintings increasingly monumental physically absorb the viewer. Facing a array that can measure up to 5 m wide, any spectator can never entirely escape even by taking a step back. The lesson is amazing. Taking the dimensions of history painting and decorative large systems, the artists turn their moral distance into a sensory absorption.
The room dedicated to paintings by Olivier Debre plays on the phenomenon of dialogue and absorption in the visitor's monumental painting of the painter Touraine. The four paintings are facing defines the space in which we find ourselves. Covering almost all the walls they become architectural forget making the presentation space for real space.
modules Bouroullec brothers hanging on the railing of the staircase between the second and third floors are as space and contamination make it disappear. And dispatcher, this work can bend and transform its visual rendering to match the space in which it is presented. The scheme installatoire led the work has to react to the demonstration area by transforming rather than simply accompanying it.
It suffices to realize that to compare the tables by Olivier Debre in their demonstrations at the Museum of Fine Arts and the Town Hall. The site fundamentally changes the way in which perceives the work and vice versa fundamentally changes the work place.
Currently the center of contemporary art, the exhibition presents Tania Mouraud this principle of the installation. In 1969, French artist burns almost all the paintings she had made. She embarks on the construction of parts of initiation. Spaces for most whites in which the viewer comes face when entering anything. The art center with artist has recreated a space made in 1969 titled initiation room 2. The empty space in any part affects the viewer through introspection. In the monochrome space is the monotony of a sound with a frequency of 200 Hz, so that isolate the viewer in a bubble. The challenge for the artist is to return to the assimilation of the work by the viewer. Installation is then put into physical condition by the work of the practitioner.
The autonomy of the table as it is presented today in museums is a form of misuse of the work itself. From the fourteenth century, the altarpiece is produced for a specific space. Scenography whether internal or external table dialogue between the space of the observer and the art space. The principle of the installation is to remember that the staging could carry out his pictures in their original contexts. Even if the work will become autonomous and does it seem adequate from the mid-seventeenth century, it nevertheless remains dependent on the space of exhibition. Indeed, as the viewer does the work, the presentation space impact that he observes. The awareness of such artists the inflection always leads to consider the presentation space as operating in compliance with their work. In our series dedicated to space weather and the senses, we understand that for the work for a mental and sensory reception defines space and time to be empirical. So that the distance between the work and the viewer reduces the artists of the second half of the twentieth century will operate the installation art as a way not to generate two spaces but one which is home to both the artist The artwork and its viewer.
