Art-performance as a modern art direction
Art-performanceas a modern direction of art, is perceived hard. In any case, as long as it is new. It is now almost forgotten as vehemently criticized as mocking ridiculed impressionist paintings. The same thing happened with cubism, surrealism… you Can not even list! Every major innovation in the art of met contemptuous ridicule and cries of «is it art?!». It used to be, and now is perceived by the broad masses of performance.
In the second half of the 20th century there were many artistic movements and art practices, I will not now detail to talk about them, let me just say that, in my opinion, unites them.
They share a fundamentally new relationship to space (I’m talking about visual art). If people focused on the perception of the individual works in the neutral space, but now the environment itself, which contains the product ceases to be neutral. The space that houses the work of land art, or in which installation and performance, or rallies – actively. This space provides a completely new aesthetic experience, fundamentally different, similar to the experience of, say, easel painting. This experience tends to be of the ancient mysteries, which have included a huge mass of people. Only in this case we can speak of a profane, devoid of the sacred, the mysteries. There are other forces: natural objects, people, cities – included in the artistic action, start to be perceived and participants of these protests and the audience.
Moreover, the concept of «audience» becomes very conditional. The boundaries between art and art becomes transparent. And every man, consciously or unconsciously, becomes a party to this action.
The art is provocative. It provokes thought.
When the ordinary Parisian usual step out into the street, absorbed in his thoughts, casts a familiar sight on the New bridge and the… See what makes him different eyes to look at the Pont Neuf and Paris, and architecture and art in General…
Performance art by Bulgarian artist Christo Yavashev (1935), can rightfully be attributed to «environment», that is, his works are organized by them (the artist and a team of engineers, technicians, etc.) holistic, active, non-utilitarian art space.
Christo and Jean-Claude, «Wrapped Pont Neuf» (Paris, 1985)
Wrapped the New bridge seems to have disappeared, and at the same time it became clear, as never. It is impossible not to stop, at least for a few moments after seeing this. Maybe this «stop» of our hurried Parisian – is the effect achieved by the Christo?.. Often art and starts with surprise.
And this is – «Wrapped Reichstag» (Berlin, 1995)
Very interesting, in my opinion, the direction in contemporary art – land art: here are the material natural objects in combination with the minimum amount of artificial elements. Performance artists Christo and his wife and co-author Jean-Claude created a number of art objects of such kind (since 1958, Christo has lived in France, and from 1964 – lives in USA). One of the most interesting – «Surrounded Islands» in Florida. In the Bay of Biscay Christo «wrapped» 11 small islets shiny fabric pink with a total area of 6 million sq. ft. This work Hristo devoted to Claude Monet.
Christo and Jean-Claude «Surrounded Islands» (Florida, 1983)
American artist Walter de Maria (1935) also worked in this direction (land art). One of the most interesting works – «Luminous field». In the space of 1 mile to 1 km he drove into the ground 400 steel rods (16 rows of 25 pins each with a diameter of 2 inches and an average height of about 7 meters) so that the upper ends of the pins were in perfect horizontal plane regardless of the changing terrain. If you look at this field was given at dawn and at sunset, the rods are practically invisible, but it clearly shows reflected their radiance. A special effect occurs on the «Luminous field» during a thunderstorm.
Walter de Maria «Luminous field» (new Mexico, 1977)
The artist, who is working in this direction, converts the environment into an active art space. Often artists – «land artists» associated his art with the idea of nature protection and the environment. I think it is obvious that this goal is not the main: any utilitarian purpose, by definition, cannot be the purpose of art, as evidenced by the whole history of performance art. However, these projects carry a range of meanings, one of which may be a call to the conservation of endangered species of the world – no matter – the natural world or the world of culture.
An important part of such art projects is their fixation. And it is here that there is a lot of confusion and misunderstanding. Many believe that photographs of these art objects, and is a work of art. This is one of the most common mistakes. Yes, these works are often almost impossible to understand (created little developed areas of desert, mountains, etc.), or localized in time, as an action, happening or performance of a play, so documentation (photo and video) is becoming a very important part of the existence of these works. But in any case it is impossible to mix photos and videos, locating these works, themselves.
Don’t know if this is a good example, but I think that’s still what is called video production a work of art. It is clear that a work of art is the performance itself, and its action, the acoustics, the direct connection with the viewer and so on. A recording of this performance, moreover, can be of poor quality. Nevertheless, even a bad quality recording will give us an idea of the work of art (in the play). About the same here. We can’t feel fully all the feelings as if we were direct participants and was included in the aesthetic space of the work. But to get an idea of it we can.
And as a consequence of this widespread error is a typical perception of art by American artist Spencer Tunick (1967). It is often erroneously referred to as «photographer» (and it indeed started out as a normal photographer), although this is certainly an artist who works in the aesthetics of the environment.
He is well known for having created a naked performance. His main a lot of naked bodies placed in a certain environment, whether natural or cultural.
Interestingly, the vast majority of people who take part in his actions – are not nudists. These people are then told about an amazing feeling of freedom and holiday that they experienced during these shares.
As comfortable and quiet to sit in the hall of the academic theatre…
How familiar and easily understood picture of Rubens «Venus and Adonis», which hangs in a gilded frame in an empty and austere hall of the Museum.
How dare he?! …Art is provocative. If it is forced to stop and think – this is good.
if you’re more inclined towards classical arts, then go to the website devabilet/meropriyatiya/detyam and buy tickets for performances.