In the 20th and 21st centuries, concepts of durability,
control over physical substance, and spatial existence have undergone a
remarkable change. In contrast to classical sculpture, which emphasises
qualities such as resilience, expert artistry, and symbolism, modern approaches
have expanded the definition of sculpture to include immersive and
participatory perspectives.
By combining media such as sculpture, sound, light, video,
and performance to create a place-specific atmosphere, installation art has emerged
as a significant force of transformation. In comparison to static,
object-centric works, the installation gives stress on spatial dynamics,
aspects of temporality and audience interaction, which facilitates the
emergence of meaning through personal experience and contextual involvement.
The historical evolution of installation art started with
early avant-garde efforts, including Marcel Duchamp's readymades, Dadaism,
Surrealism, and constructivism, which critically analysed well-known aesthetic
norms, material disruption, and participation of the observers. The innovation
of many persons, notably Allan Kaprow's Happenings and Yayoi Kusama's immersive
installations, laid the foundation of the process with audience engagement and
perceptual alteration.
Robert Smithson's Spiral Jetty and Joseph Beuys' ecological
initiatives first started installation art as a vehicle for social, political,
and environmental discussion and ecological discourse. The conceptual richness
and cultural implications of installation art utilising both traditional and
innovative materials to confront urgent societal and environmental issues
received a lot of attention from notable artists Olafur Eliasson, Anish Kapoor,
Ai Weiwei, as well as Indian practitioners. The scale, conceptual richness, and
cultural implications of installation art.
Installation art entails phenomenology, relational
aesthetics, and participatory and immersive characteristics. This increases the
significance of embodied perception, social interaction, and contextual
meaning, eg, Postmodern and deconstructive methodologies further promote a
plurality of interpretations, thereby increasing audience involvement.
This chapter highlights a case study of an
environment-oriented installation using the available roots, woods and natural
materials in the vicinity of the university with emphasis on sustainability,
protection of cultural heritage, and audience engagement. The study elucidates
the several ways in which contemporary installation art has value in aesthetic
and ethical aspects, which in turn establishes a link between traditional
knowledge and ecological consciousness.
Author(s) Details
Ratan Kanwar
Maharaja Ranjit Singh Punjab Technical University, Bathinda, India.
Please see the book here :- https://doi.org/10.9734/bpi/nicass/v6/6434
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