AI Summary & Key Takeaways
AI InsightHowever, both try to add value to the space with an artistic touch.
📌 3 Key Takeaways
Abstract
The first traces of Site-specific Art, which is identified with the space, can be found in cave paintings, as in most other disciplines. Site-specific Art, which is seen in houses and temples over time, takes part in the meaning of architecture as a part of it and an element that complements it. Folly architecture is the first breaking point of Site-specific Art that progresses in a functional line. However, this style is not a reckoning with the space, it is just the expression of a thought, belief, and dysfunctional architecture with a message. In re-readings of Site-specific Art, rarity cabinets are shown as the starting point of medium-oriented installations. However, the goal is not criticism, but exhibition. Dada movements are the first break in which media-oriented art comes to terms with the space and critical thoughts are put forward. With modernism, the former functional and pragmatic character of Site-specific Art changes; evolves into a critical and conceptual dimension. In the movements that emerged with modernism, the first examples of media- oriented art reckoning with the space appear on a larger scale by going out of the space in the Postmodern period. Site-specific Art which finds a new area of expression with a critical perspective, transforms into an art form where artists actively make space a part of their discourse. In this article, it is reinterpreted how Site-specific Art became dysfunctional in the period from Dada movements to Modernism until the 1950s, why it came to terms with the space and how it used the space. The structure that goes back and forth from holistic art to Surrealism, from functionality to critical thinking, and the forms of expression of Site-specific Art are examined. While one is concerned with giving a positive message to architecture with an aesthetic view, the other has a rebellion against questioning the space and the system. However, both try to add value to the space with an artistic touch.
Özet
Önceki bölümde ortam odaklı sanatın ilk mağara resimlerinden Folly mimarisi yani Dadanın kırılma noktası öncesine kadar olan dönemde mekân ve eser ilişkisi ortam odaklı sanat bağlamında yeniden değerlendirilmişti. Bu makalede ortam odaklı sanat Dada hareketinden Modernizmin 1950’lere kadar olan dönemi incelenmiştir. Modernizmle birlikte ortam odaklı sanatın işlevsel ve pragmatik özelliği değişip dönüşerek eleştirel ve kavramsal boyuta yönelmiştir. Yani Modernizm öncesi mekanı ele alış biçimi ile sonrası değişim gösterdiği için mekân ve eser ilişkisi ortam odaklı sanat bağlamında yeniden değerlendirilmiştir. Ortam odaklı sanatın yeniden okumalarında nadire kabinlerinin ortam odaklı yerleştirmelerin başlangıç noktası olabileceği örneklerle açıklanmış ve Modernizm sonrası yerleştirmelerle bağlantısı kurulmuştur. Modernizm ile birlikte ortaya çıkan akımlarda ortam odaklı sanat; eleştirel bakışla kendine özgü yeni bir alan açmış ve sanatçılar mekânı aktif olarak söylemlerinin bir parçası haline getirmiştir.