Filed under: Uncategorized | Tags: art, broadcast, clubbing, cocktail, contemporary, event, excess, live, nottingham
Friday 28 June 8pm – 1am, Free
The Space, Nottingham Contemporary
Broadcast online via tethervision.co.uk and extended into a virtual 2nd room for online clubbing by itsourplayground.com
A night of live electronic music, cocktails, visual art and excess to celebrate the closing of Mark Leckey’s “The Universal Addressability of Dumb Things”
Filed under: Uncategorized | Tags: art, contemporary, discussion, green screen, guerrilla tv, made for tv, nottingham, talk show
Broadcasting live from Nottingham Contemporary, 15 June, 2.30pm, a specially created artist production crew will direct the pilot for a TV talk show.
Hosted by artist and Social Media Takeaway presenter Bruce Asbestos, invited experts will speak on a variety of subjects around the history of artist broadcasting.
Johan Grimonprez (Director of the iconic Dial H-I-S-T-O-R-Y)
Kris Paulsen (Assistant Professor, Film and Media, The Ohio State University)
Colin Perry (Reviews Editor, Moving Image Review & Art Journal)
This event will be broadcast live online by a specially created artist production crew including Vanilla Galleries, Superlative TV & AKGBtv
Use the hashtag #M4TV
Visit the special microsite for the project at http://www.tether.org.uk/madefortv
Filed under: Uncategorized | Tags: art, discussion, outsourcing, survey, Writing
by Eve Pierce.
Installations are artistic interventions aimed to involve its audience and make us rethink our values, whether politically, emotionally or intellectually. The ‘intent’ is more important than the form. As Pablo Picasso enigmatically said, “Art is a lie that makes us realise the truth”. Installation art is a powerful way to demand its audience’s attention. For many, it makes a gallery visit much more meaningful and enjoyable.
Hosting an art installation
Installation art is part personal expression, part physical experiment and part designed space. Over the last decade, installation art has moved from the periphery of art culture and become a mainstream art form. Installation works are entering the collections of museums, galleries and institutions at an unprecedented rate. Many galleries now have a dedicated space available to host installations, a space large enough to cope with the sometimes difficult and complex nature of installation itself. London’s Barbican Centre has ‘The Curve’, currently hosting ‘Rain Room’ a 100 square metre field of falling water that uses special movement sensors that allow visitors to walk through it and not get wet. While last summer, Tate Modern added three new underground spaces for art installation and performances. The Tanks at Tate Modern are dedicated to exhibiting live art, performance, installation and film works.
Art was once considered something only an elite and privileged few would enjoy. Today, it is much more accessible. Contemporary artists and modern galleries aim to introduce and encourage interaction and discussion of art to the wider public. Many installations are interactive. They involve the audience by making them part of the art, allowing them to walk through it, touch it, and really immerse themselves in the exhibit. Tether’s Black Swans is an example of this; an art-themed quiz show, it was filmed in front of a live audience and explores art using the premise of a game show, while Murder In The Kremlin placed the audience inside the art, allowing them to discover clues and come to their own conclusions about our age of CCTV. Installation art is now a staple of the music festival, placed under the stars for revellers to marvel at and dance alongside. In the summer months, public spaces are awash with installations. Art is becoming a fluid relationship between the artist and the audience. The spectator becomes a participant, an exciting prospect that attracts people who may not even realise that they enjoy art. Installation has changed the face of modern art. Audiences expect to respond and be included in the work and it is often their participation that reveals and sets in motion the meaning of the installation.
Installation art is rarely sold at auction, if it is an installation that uses perishable materials it can’t be sold in the same way as more traditional forms of art. Critics of art installations often talk about the temporary status of such work. ‘Melting Men’ is part of artist Nele Azevedo’s Minimum Monument Project. This is a series of art installations where Azevedo carves hundreds of ice figures and places them on city’s monuments. Crowds watch as each figure slowly melts and disappears. Each ice figure represents an ordinary person, the common man and was conceived as a criticism of monuments in cities, but has also been commissioned by some environmentalists as warning of climate change. It can be very difficult to set a monetary value of this type of artwork, nevertheless, these works do have high artistic value and galleries still need to protect and cover them against theft and damage.
Installation as Art History
Installation art is essentially an ephemeral activity, it exists and is enjoyed for only a short time. But with it’s increased popularity, questions are being asked for ways to retain and preserve this form of art history. Nico de Oliveira, Nicola Oxley and Michael Petry were founding directors of London’s Museum of Installation. This was an exhibit space that exclusively showcased temporary installations and ran from 1990 to 2005. They also are the authors of the books, ‘Installation Art’ (1994) and ‘Installation Art in the New Millennium’ (2003), these books seek to record the efforts of the installation artist worldwide. In a 1994 interview, Nicola Oxley asserted that installation art is “a serious thing which is not going to go away, that even though it is by its nature temporary it does have a place.”. They began to archive the installations through video, photos, written accounts and catalogues. In a more recent interview, Nico de Oliveira acknowledges the importance of media coverage of installations and states, “for work to have an impact… it need not be around forever, it just needs to be chronicled and disseminated properly.”