Installation Art free essay sample

Installation art is difficult to describe. In principal, it means taking a large interior (the exterior can be part of an installation, too) and loading it with disparate items that evoke complex and multiple associations and thoughts, longings, and moods. Its a huge three-dimensional painting, sculpture, poem, and prose work. Installation art is a relatively new genre of contemporary art, which incorporates a range of 2-D and 3-D materials to influence the way we experience or perceive a particular space. Installations are artistic interventions designed to make us rethink our lives and values.As in all general forms of Conceptual art, Installation artists are more concerned with the presentation of their message than with the means used to achieve it. However, unlike pure Conceptual art, which is supposedly experienced in the minds of those introduced to it, Installation art is more grounded it remains tied to a physical space. Picture: Thomas Hirschhorns The Subjecters on View at La Casa Encendida in Madrid MADRID. We will write a custom essay sample on Installation Art or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Thomas Hirschhorn, a Swiss artist resident in Paris, presents an exhibition entitled The Subjecters, which features a series of vitrines containing mannequins and two installations.According to the artist, every work is a commentary on the complex, chaotic, cruel, beautiful and wonderful world we live in. The work of Thomas Hirschhorn (Bern, 1957) is a politically committed reflection about contemporary reality. Employing a variety of disciplines such as sculpture, video and installation, Hirschhorn produces works charged with social and political criticism. Three of the works featured have never before been exhibited: Tools Vitrine, Subjecter, from which the exhibition takes its name, and the Manga figurines Ingrowth, originally created to be shown in a public space in Paris. The Subjecters, which will be on display at La Casa Encendida of Obra Social Caja Madrid through 5 January, comprises a series of vitrines with mannequins and two installations. Using everyday materials such as adhesive tape, cardboard, sheets of plastic, photocopies or, as in this case, mannequins, he represents universal situations in a transgressive, direct way. Through the mannequins, which are intended to represent human beings, the artist talks to us of a universal wound, which personifies his assertion, Each wound is my wound. The exhibition begins with a newly produced piece, INGROWTH, which unlike the other works was originally planned to be exhibited in a public space in Paris. However, as it never went on display, it will receive its first showing here at La Casa Encendida. For Hirschhorn, a vitrine is a public space because it is an enclosed place which exhibits an object for a hypothetical audience. In addition to this piece, the artist has produced two new works for the project: Tool Vitrine and Subjecter, which lends its name to the title of the exhibition.In Tool Vitrine, a mannequin appears to threaten us with a hammer, although he might just be going about his daily work, surrounded by all kinds of tools. The implements are typical of those used by the inhabitants of industrial areas such as Aubervilliers, where the artist has his studio. In the midst of the tools, as if it were an instruction manual, sits a copy of Spinozas Ethics, one of Thomas Hirschhorns favourite books. Meanwhile, in Subjecter, a single mannequin riddled with nails appears outside the vitrines, like a fetishistic representation of a human figure.The mannequins in the works are all connected in some way with society, be it through the tattoos on the surface of 4 Women, the m agazines that highlight body care in Mono Vitrine (Interview), the art books on Goya that remind us of the horrors of war in Mono-Vitrine (Goya), the tools in the piece Tool Vitrine, or the Manga figurines in INGROWTH. Completing the exhibition are two installations situated in the middle of the room, BlackWhite Hemisphere and The One World. The Subjecters is the title of the exhibition but also the global term for the pieces the artist has made with mannequins or parts of them.As the artist himself says, The mannequin (or the parts of mannequins) is not the Subject – its a Subjecter. The Subjecter is an invention of mine – it stands for what I cannot give a name but for what I can give form (and must give form, as the artist), and I worked it out with the form of mannequins, which is not new in the history of art, but which is a form to express the closest-far-away of myself. picture: Meret Oppenheim, Fur Covered Cup, Saucer, and Spoon (Le Dejeuner en Fourrure) 1936 This Surrealist object was inspired by a conversation between Oppenheim and artists Pablo Picasso and Dora Maar at a Paris cafe.Admiring Oppenheim’s fur-covered bracelet, Picasso remarked that one could cover any thing with fur, to which she replied, â€Å"Even this cup and saucer. † Soon after, when asked by Andre Breton, Surrealism’s leader, to participate in the first Surrealist exhibition dedicated to objects, Oppenheim bought a teacup, saucer, and spoon at a department store and covered them with the fur of a Chinese gazelle. In so doing, she transformed genteel items traditionally associated with feminine decorum into sensuous, sexually punning tableware