Monday 27 December 2010

DAY ONE- OPENING NIGHT OF THE ZOMBIE PSYCHOTROPIC: EL CHUPACRABAS















Connected to the thought :
More from Boris Groys
Now, the artistic installation does not circulate. Rather, it installs everything that usually circulates in our civilization: objects, texts, films, etc. At the same time, it changes in a very radical way the role and the function of the exhibition space. The installation operates by means of a symbolic privatization of the public space of an exhibition. It may appear to be a standard, curated exhibition, but its space is designed according to the sovereign will of an individual artist who is not supposed to publicly justify the selection of the included objects, or the organization of the installation space as a whole. The installation is frequently denied the status of a specific art form, because it is not obvious what the medium of an installation actually is. Traditional art media are all defined by a specific material support: canvas, stone, or film. The material support of the installation medium is the space itself. That does not mean, however, that the installation is somehow “immaterial.” On the contrary, the installation is material par excellence, since it is spatial—and being in the space is the most general definition of being material. The installation transforms the empty, neutral, public space into an individual artwork—and it invites the visitor to experience this space as the holistic, totalizing space of an artwork. Anything included in such a space becomes a part of the artwork simply because it is placed inside this space. The distinction between art object and simple object becomes insignificant here. Instead, what becomes crucial is the distinction between a marked, installation space and unmarked, public space.








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