Installation Art- Essence & Existence

REVIEW

In this chapter Zurbrugg broadly describes the importance of , the history/origins of and the characteristics of installation art. Zurbrugg writes "the single most common feature of all installations is their use of three-dimensional space". He explains that the artist is often attempting to "redefine a particular exhibition space" which means that "every installation artist is their own curator".
Zurbrugg is very positive about installation art and emphasises the philosophical nature of postmodern installation. He quotes the French surrealist poet Aragon saying when explaining that "the most positive forms of postmodern art realise and revolutionise what the most positive modernists 'dreamed' that art might become, 'after us, beyond us'".
Within his description of the origin of installation art Zurbrugg tells us that "there is something unsatisfactory about installations which simply exploit a kind of second-hand Duchampian shock value". Perhaps an example of this would be YBA artists such as Tracey Emin, Sarah Lucas and Damien Hurst.
Reading his chapter we get the feeling that he believes art reflects the social and political issues of the time. I agree with this. His (subjective) opinion is that "different kinds of kinetic works seem most attuned to present times" and that "the most rewarding installations are perhaps those which imply or enact some sort of movement". Perhaps this reflects our edgy, impatient technology-driven society.

I always enjoy reading about installation art, however, I must say I didn't learn much from the chapter. The broad nature of it implied it should be directed to those who don't know much about contemporary and/or installation art but the language implied assumed knowledge about these things. The reader is bombarded with an introductory sentence which is far too long, confusing and pretentious. This style of writing Zurbrugg uses I believe contradicts one of the key purposes of installation art. An important characteristic of Installation art is its accessibility and interactivity. Zurbrugg makes it seem as though it is something only super-academic types should be able to get their heads around. An example of this is when he says "considered in existentialist jargon". It seems as though through his language but basic information that he is trying to appeal to a very small percentage of the population. How can we be expected to engage the general public in our art when people like this scare them off?

Installation Art- Essence and Existence, What is installation? An anthology of writings on Australian installation art/Ed by Adam Geczy and Benjamin Genocchio. Sydney: Power Publications, 2001. pp. 25-31.