Critical review

Nicolas Zurbrugg in the article entitled “Installation Art – Essence and Existence’, gives a well rounded discussion of installation art. The chapter begins by discussing “what is an installation” and the development of postmodern installation art. Zurbrugg right from the beginning makes interesting statements about postmodern installation art. The writer states that an installation “typifies some of the most interesting of the wider contemporary artistic languages, challenging and extending our preconceptions regarding materials, conceptual, institutional and authorial parameters”(25). This statement is evident in many contemporary pieces as referred to later in the article such as, Jenny Holzer. Which through the use of text on buildings and billboards has revolutionized the gallery as an institution. Zurbrugg continues on to define an installation as something that can be installed “inside, outside or around an exhibition space (25).”

The ideas of existence and essence are mentioned throughout the chapter drawing on enthralling ideas. This being that “ its existence as an installation responding to a particular spatial or environmental context determines its specific aesthetic essence as installation art” (26) therefore, “Existence determines essence”(26) regarding an installation.

This article differs from others due to the fact that the writer has taken a different approach to establishing an understanding of installation art. Rather than looking at “ancient constructions”(26) he attempts to look at the differing periods in the early development of installation art in 20th century avant-garde movement. The writer looks at Duchamp's influential artwork “Fountain” (1917), and the works of Kurt Schwitters. Both were dominate artists within this avant-garde movement. Through the discussion of these works many intriguing ideas are unpacked. The writer states “schwitters implies that any selection of preexisting materials may function as an installation in any place if the artist considers them to have artistic value. Duchamp suggests that any materials, irrespective of artistic merit, must become art when signed by the artist.” (29)

This discussion continues with a few differing perspectives on installation artworks. The writer also makes the point that “installations that simply exploit a kind of second-hand Duchampian shock value”(30) are inadequate.
Overall, the chapter makes a knowledgeable discussion from the early 20th century to contemporary installation art. Making insightful statements about what makes installation art what it is today. This article makes reference to relevant artists, exhibitions, writings and theoretical discussion. From the discussion of defining an installation to the argument of its avant-garde origins Zurbrugg makes a compelling argument. I see many of his ideas having merit. Especially, in his final statements as he states in his opinion that “the most rewarding installations are perhaps those which imply or enact some sort of movement, be this their own literal movement as Kinetic structure or as installation action, or be this the viewer’s physical or mental exertions, across material or metaphysical space”(31). Even through he does make some fascinating points I felt that there could have been a more in depth discussion of views on installation art, looking at this art form from more different perspectives giving his argument more relevant continuity.

Source: Nicholas Zurbrugg chapter: Installation art – essence and existence from What is installation? An anthology of writings on Australian installation art /edited by Adam Geczy and Benjamin Genocchio. Sydney : Power Publications, 2001. pp. 25—31