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Dimensão - Espaço : o tempo de um objecto num lugar concreto : instalação em arte
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From alternative spaces to museums, installation art has been continuously associated with an exhibitional context, as a work produced for a specifical site. The appropriation of materials taken from everyday life, makes it an ephemeral artistic practice, but also a temporary experience that, after exhibition ceases to exist. Defined by new artistic dimensions, interpretation of installation art requires a more fluid understanding than traditional art. At the process of institutionalization to a museum space, concepts of interactivity, site- specific or temporality, become faster decontextualized to become adjusted in commercial systems. As a museum’s function is to preserve for an indefinite period of time, a unique and urepeatable object, collecting installation art becomes institutional and ideological challenging. Installation art is based on spontaneous and uncontrollable actions, which define the creative process and an artist’s intention. Concerns with the durability of an artwork fails to be relevant and, when a museum desires to collect installation art, it then needs to strategically think about the vulnerabilities and contingencies that may origin as the work progresses. To be able to experience it again, installation art can be recreated or, if the artist wishes to bring the artwork to extinction, the museum can preserve instructions templates, reproduced with every assembly. The documentation required for this musealization process to understand all the work’s properties, can be obtained through interviews or questionnaires. To understand the process of acquiring installation art in a museum collection, we analyze the case study of L.R – Live Relay from the Clock Tower of Porto City Hall 2015 from João Penalva, with an exclusive interview by the artist
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Penalva, João, 1949- Instalação (Arte) Site - Specific Art Temporalidade Museologia Curadoria Preservação