In the chapter "installation art- essence and existence" zurbrugg attempts to locate the beginnings of installation art as a medium and theory and it's essence. Zurbrugg begins by introducing the influence of installation art on the art world and it's purpose, which is "challenging and extending our preconceptions regarding art's materials, conceptual, institutional and authorial parameters". He then continues to suggest a definition for instillation art "that which artists install, inside, outside or around the exhibition space" with this he introduces the importance of spatiality for an instillation artist and continues to say that it is the artist's intent to redefine the spatial aspects of the exhibition space.
Zurbrugg makes connections between the early twentieth century avant-garde movements and contemporary instillation art. With this he suggests the flow of experimentation in the earlier movements of futurism, Bauhaus and dada into the realisation of "the modernist dreams" of contemporary works. Zurbrugg makes the connections through Mohole Nagy’s light space modulator and the works of john cage. Zurbrugg suggests that Mohole Nagy’s attempt to create a kinetic sculpture that existed as a static piece but could also become an "interactive, site modifying work" was a precursor that paved the way for john cage's "chance animated, musical installation and performances of the mid 1960s".
Zurbrugg continues to explain cage's works and their use of chance and technology. This is then linked to the futurist and Bauhaus' "enthusiasm for technological creativity" and the dadaist' "enthusiasm for chance". Through this zurbrugg successfully roots the beginnings of instillation art in the early movements of the twentieth century.
Zurbrugg then starts to question what makes a successful instillation. Stating that a sense of movement is required in relation to the responder in order to create a successful piece. Be that physically "across the material" or through "mental exertions" across a "metaphysical space".
Zurbrugg’s essay while well written as a whole, it seems somewhat disjointed in its structure and purpose, overall effective in it's conveyance of meaning and concept but lacks total fluidity. I found the reading interesting and insightful.
Source: Zurbrugg, Nicholas, Installation Art- essence and existence, What is installation? An anthology of writings on Australian installation art/ Ed by Adam Gauzy and Benjamin Genocchio. Sydney: Power Publications, 2001. pp. 25-31.
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