Installation Art

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Installation art describes an artistic genre of three-dimensional works that are often site-specific and designed to transform the perception of a space. Installations are usually generated in relation to a specific context , be it urban, rural, or gallery. Generally, the term is applied to interior spaces, whereas exterior interventions are often called land art; however, the boundaries between these terms overlap.

“Installation Art” is a work could have a direct relationship with its site, be short-lived and only remain in photographic form after is has been decayed, or it may have set out to engage the brain through a process which directly involved the viewer to interact with it as part of this existence. An examination [ theory / appreciation ] of the specific areas of installation art that are related to core fundamentals of Architecture: space - light - surface - form - shelter - structure - context - elements - etc. Installation as nomenclature for a specific form of art came into use fairly recently; its first use as documented by the Oxford English Dictionary was in 1969. It was coined in this context, in reference to a form of art that had arguably existed since prehistory but was not regarded as a discrete category until the mid-twentieth century. Allan Kaprow used the term “Environment” in 1958 (Kaprow 6) to describe his transformed indoor spaces; this later joined such terms as “project art” and “temporary art.”

Essentially, installation/environmental art takes into account a broader sensory experience, rather than floating framed points of focus on a “neutral” wall or displaying isolated objects (literally) on a pedestal. This may leave space and time as its only dimensional constants, implying dissolution of the line between "art" and "life"; Kaprow noted that “if we bypass ‘art’ and take nature itself as a model or point of departure, we may be able to devise a different kind of art... out of the sensory stuff of ordinary life” (Kaprow 12).

Traditional Chinese version