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"Installations (Art)"
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Installation art and the museum
Installation art has become mainstream in artistic practices. However, acquiring and displaying such artworks means that curators and conservators are challenged to deal with obsolete technologies, ephemeral materials, and other issues concerning care and management of these artworks. By analyzing three in-depth case studies, the author sheds new light on the key concepts of traditional conservation-authenticity, artist's intention, and the notion of ownership-while exploring how these concepts apply in contemporary art conservation.
eBook
Olafur Eliasson : in real life
Published to accompany the first UK retrospective of Olafur Eliasson's work, this book is conceived as an illustrated `field guide' to his practice. Featuring a substantial conversation between the artist and the Tate curator Mark Godfrey, as well as a range of short dialogues with a strikingly varied range of people working both inside and outside the arts - from anthropology, economics, political science, and biology to architecture and urbanism, dance, music, and food - the book provides readers with a \"compass\" to Eliasson's thinking: a 360-degree view of the frames of reference that inform his work. Eliasson builds such conversations into his daily life and work. They help him not only to understand other people's unique fields of knowledge, but also to ask, `What does my understanding of your knowledge do to my understanding of the world?', and touch on topics as wide-ranging as the social and cultural factors that contribute to social trust, the `topography' of scent, the chronobiological effects of light, public space and civic infrastructure, and the power of art. The interweaving of these texts with stunning photography of his remarkable and immersive works provides an insight into what Eliasson calls his ongoing aim of \"reaching out into the world\".00Exhibition: Tate Modern, London, UK (11.07.2019-05.01.2020).
Book
The influence of the physical context and knowledge of artworks on the aesthetic experience of interactive installations
In the current study, the influence of the physical context and the knowledge of artworks on the aesthetic experience of installation art is tested for the first time. We assessed non-experts in the field of art (N = 158) who viewed interactive installations in either the art gallery context or the classroom. Some participants knew both the artworks’ titles and the curator descriptions, some knew only the titles, and some had no contextual information. We tested both the aesthetic emotions and the aesthetic judgments. For the measurement of aesthetic emotions, we used the Self-Assessment Manikin approach including the traditional dimensions of affect and the measurement of recently-proposed dimensions such as origin or subjective significance. The study replicated previous findings that the gallery context enhances the aesthetic experience – both of art appreciation and aesthetic emotions. Moreover, our results showed that the emotions caused by viewing the installation in the gallery had more of an automatic source (metaphorically coming “from the heart”) and were more subjectively significant than aesthetic emotions experienced in the classroom context. Curatorial information increased the understanding and appreciation of the works of installation art, and also caused the aesthetic emotion to be more positive and more intensive; while having knowledge about the titles did not influence the aesthetic experience.
Journal Article
Walter De Maria : the 2000 sculpture
The 2000 Sculpture des amerikanischen Künstlers Walter De Maria (1935?2013) ist eine der grössten Bodenskulpturen im Innenraum weltweit. Eigens für den grossen Ausstellungssaal des Kunsthaus Zürich konzipiert, wurde sie dort 1992 erstmals gezeigt. Die Installation besteht aus insgesamt 2000 weissen Gipsbarren von gleicher Grösse, jedoch unterschiedlicher Anzahl Kanten, was in der Platzierung auf dem Boden nach einem spezifischen Rhythmus eine sich laufend verändernde Gesamtsicht des Werks ergibt. Der umgebende Raum, über den Tag wechselnde Lichtverhältnisse und der jeweilige Standpunkt der Betrachtenden unterstützen diese Wandlungen zusätzlich.00Nach Präsentationen in anderen Institutionen sowie 1999/2000 ein zweites Mal im Kunsthaus Zürich, wird The 2000 Sculpture nun erneut an diesem Ort gezeigt und einen meditativen Gegenpol zur Eröffnung von David Chipperfields Erweiterungsbau im Herbst 2021 bilden. Das zu dieser Ausstellung erscheinende Buch dokumentiert die herausragende Arbeit von Walter De Maria in Bild und Text. Es enthält ein Interview der Kuratorin Mirjam Varadinis mit den Sammlern Thomas und Cristina Bechtler, die mit dem Künstler eng zusammengearbeitet haben, und einen Essay von Philip Ursprung zur Kontextualisierung des Werks. Die Wiedergabe des ersten Texts überhaupt über The 2000 Sculpture aus der Feder des legendären Ausstellungsmachers Harald Szeemann (1933?2005), dank dessen Vermittlung sie entstanden ist, rundet den Band ab.00Exhibition: Kunsthaus Zürich, Switzerland (27.08.2021 - 20.02.2022).
Book
Off the Ground
Introduces a series of four performative and interactive projects funded through the Dunedin Dream Brokerage. Explains the work of the Brokerage in creating opportunities for artists to use temporary spaces within the urban environment. Showcases Tūwhana, a collaboration between Waiariki Parata-Taiapa, Heramaahina Eketone, and Alex Whitaker; The Commons by Kate Fitzharris; Caffenol Cafe 1. RDC Espresso by Chris Schmelz; and, Basking with Madison Kelly. Includes a very brief biography of each participating artist. Source: National Library of New Zealand Te Puna Matauranga o Aotearoa, licensed by the Department of Internal Affairs for re-use under the Creative Commons Attribution 3.0 New Zealand Licence.
Journal Article
Das Numen
Das Numen is a Berlin-based artists' collective. Julian Charriلere, Andreas Greiner, Markus Hoffmann, and Felix Kiessling studied with Olafur Eliasson and now work together to investigate experimental ways to study space and biological systems and the feelings associated with them. Blending art and science, they translate their exploration of natural phenomena in the urban context into aesthetic environments that sensitize the viewers to the world around them while also encouraging contemplation. The first book on Das Numen offers insight into the group's diverse experiential universes. It combines impressions of their projects with essays that approach their work at various stages. The artists have conceived the publication as a space of experience that will be enriched by each reader's associations.
Book
Deep reinforcement learning-based thermal-visual collaborative optimization control system for multi-sensory art installations
This paper presents an attention-enhanced deep reinforcement learning control system for thermal-visual collaborative optimization in multi-sensory art installations. The proposed system integrates three key innovations: (1) an attention-based DDPG algorithm with dynamic modality weighting (α = 0.6–0.8 for thermal, 0.6–0.7 for visual features), (2) adaptive sensor fusion combining Kalman and particle filtering with 8 ± 2 ms processing latency, and (3) hierarchical four-layer architecture achieving 65% control accuracy improvement and 40% response time reduction compared to traditional approaches. The system architecture incorporates a hierarchical four-layer design with perception, fusion, decision-making, and execution components. The core innovation lies in an attention-based deep reinforcement learning algorithm that dynamically processes multi-modal sensory inputs and optimizes thermal-visual coordination through continuous learning. The algorithm employs spatiotemporal alignment mechanisms, adaptive feature weighting, and collaborative optimization strategies to achieve superior control performance. Experimental validation demonstrates quantified improvements over conventional methods: control accuracy improved from 0.247 ± 0.067 RMSE (PID baseline) to 0.085 ± 0.012 RMSE (proposed method), representing 65% improvement; response times reduced from 78 ± 22 ms (fuzzy control) to 45 ± 8 ms (proposed method), achieving 40% improvement; energy efficiency increased from baseline consumption to 23% reduction through intelligent coordination. Real-world deployment results confirm practical effectiveness with measured user satisfaction scores of 4.1 ± 0.7 on a 5-point scale and system availability of 98.5% over 186-hour continuous operation periods. The proposed system enables more sophisticated multi-sensory experiences while maintaining artistic integrity and provides a foundation for advanced digital art technologies.
Journal Article