article review.. sorry its late!

Nicholas Zurbrugg article Installation Art – Essence and Existence examines the different elements that constitute a work with artistic merit or the innovative qualities ‘that widen the languages of creativity. Zurbrugg suggests Installations art’s position of autonomous ‘real-time’, as something that has the ability to co-exist through orchestrated time (duration), techno-time (data recording) or virtually outside of time as a separate and complete entity. These qualities of constructed ‘real-time’ and each works innate three dimensionality gives the artist the freedom to explore and assess new ways to develop and manipulate spatial impact on the viewer. Much Installation Art comes into existence through the artists desire to be self-governing and redefine the gallery space, whereby very exhibition is subject to the desires of the artist and the dimensions the installation is interfacing with, therefore the work also become self-documenting and self-conscious – its unique existence determines its essence. Zurbrugg emphasises that Installation Art has the potential to work on multiple levels of perception, participation, construction and idea/aesthetic essence, suggesting that we look towards the preceding modern movements of futurism, the Bauhaus experiments, dada, surrealism and constructivism in order to decipher the complex nature of the practice and stating that ‘many forms of contemporary Installation Art make historical sense as the systematic and technological realisation of modernist ‘dreams’’.

Zurbrugg reference to John Cage’s installation/performance-like happenings suggest the similarities between Installation Art and Performance and makes sense of the idea that because the audience is seen to be an active participant the work is always art-in progress and, therefore, is able to ‘consciously evade both pre-classification and post-classification’. Zurbrugg attitude seems to become a little more pessimistic when comparing the principles of Kurt Schwitters’ Merzbau 1924-23 and Marcel Duchamp’s Urinal 1917, suggesting that while Schwitters could be seen as the ‘precursor for the commemorative impulse in post-modern Installation Art, or those who take value seriously’ Duchamp’s initial impact have perhaps now given way to insipid and under considered ‘static’ installations. He further impresses that there is something insufficient about second-hand Duchampian shock-value installations through a statement by Joseph Beuys (Art monthly, 112 January 1988) that “the Silence of Duchamp is overrated” and that art should be “something which is related to humankinds creative structure and senses and to thought, feeling and the gaining of power”. This reference to the work of Joseph Beuys emphasises the notion that Installation art should be that of nostalgia, documentation, memorial and the artist and the audience (as one is the same). He moves on to point out that Installation Art with substance is generally in tune with current society and that kinetic works are most congruent. Perhaps again linking installation Art to performance – motion, or remarking that technology and progressive action is at the for-front of social values and must therefore be recognised as an artistic possibility. Zurbrugg poses a guideline to deciphering and recognising valid or cogent forms of installations and less valid substitutes, reinforcing that what advocates essence is Installation that actively invites the audience’s participation and contemplation.