Nicholas Zurbrugg begins the chapter Installation Art – Essence and Existence by tackling the difficult concept of installation art. He gives a very broad, loose definition of what classifies certain art as installation art. Installation art, by Zurbrugg’s definition tends to “extend beyond the picture frame” therefore “asserting a more complex spatial impact”. Thus installation works are redefined if not formed within the “institutional, commercial, domestic or public.. exhibition space” and the space becomes part of the work’s existence and essence, whereas forms of conventional art may be seen to proceed the exhibition space. Zurbrugg states that the “installation artist is their own curator” as they take control or yield to the exhibition area as they redefine the space.
Zurbrugg resists the common tendency to discuss the origins of installation art by redefining ancient art as examples of “primitive installations”. Instead he takes a refreshingly different view discussing installation art’s origin in terms of contemporary work’s reference to early twentieth- century avant-garde movements. Zurbrugg embarks on detailed comparisons of avant-garde movements and their prominent theorists and artists and the impact these movements had and still have on the development and conceptualisation of contemporary installation works. Interesting points are raised regarding certain art styles and their function. For example John Cage’s installations and performances function, in Zurbrugg’s opinion to widen critical concepts, by incorporating a large selection of sources and materials in specifically, his sound performances. His works are unpredictable and give a “sense of indeterminacy and unrepeatability”. This results in infinite interpretations as audience witness unique performances. Cage employs for example, the dadaist passion for “chance compositions” and the futurist’s “enthusiasm for technological creativity”.
Zurbrugg includes a range of theoretical opinions including artist Kurt Schwitters’s opinions on artistic value and Joseph Beuys ideas relating to “Duchamp’s indifference to aesthetic values”. Zurbrugg comes to the conclusion that a valid form of installation or installation-action relates to it’s relationship with the viewer. He suggests the most rewarding and successful installations “enact some sort of movement” from the viewer, whether it be physically walking around the work or a more “mental exertion”.
Zurbrugg takes a long winding journey through the twentieth century into the present. Not only does his investigation explore what characterises art as installation art in order to define the term, but also what makes an installation successful and engaging to an audience.
Zurbrugg, Nicholas. “Installation Art – Essence and Existence.” In What is Installation Art? An Anthology of writings on Australian Installation art, edited by Adam Geczy and Benjamin Genocchio, 25-31. Sydney: Power Publications, 2001.
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