Short Introduction to the Installation Discourse

Instalacijska umetnost se je pojavila v 60. letih 20. stoletja. Kot novomedijsko umetnost so jo uveljavljeni modernistični kritiki in teoretiki negativno sprejeli – Michael Fried jo označi kot preveč performativno prakso. Toda prav zaradi performativne vloge, ki jo ima pri obiskovalcu, je kaj kmalu postala priljubljena oblika likovne umetnosti, ki služi kot protiutež visokomodernistični greenbergovski likovni praksi. Instalacijski diskurz vznikne ob ontološkem obratu, ki iz modernizma rodi postmodernizem. Z intersubjektivnim razumevanjem gledalčeve izkušnje je teorija instalacijske umetnosti skoraj povsem podvržena fenomenološki razlagi, za povrhu pa lahko obiskovalčevo vlogo razumemo kot predvsem performativno. Danes je instalacija ena izmed najbolj uveljavljenih likovnih oblik, termin pa je pogosto tudi zlorabljen. Definicija instalacije mora ostati dovolj odprta, vendar hkrati ne sme biti preširoka. Instalacija je izrazito prostorsko utemeljena, vendar hkrati odvisna od posameznega obiskovalca. Aktivacijo obiskovalca instalacije je definirala že Claire Bishop, Anne Ring Petersen pa je njeno definicijo instalacije nadgradila s konceptom performativnosti. Kot danes prevladujoči likovni izraz se je instalacija v zadnjih petdesetih letih razvijala, z razvojem instalacijske umetnosti pa se je razvijal tudi instalacijski diskurz. Tako likovna forma kot diskurz nista zaključeni tvorbi, zato bo razvoj potekal še naprej, zanj pa bo potrebno nadaljnje teoretično motrenje sprememb, ki se pojavljajo v likovni umetnosti.Installation art first appeared in the 1960s. As new media art, it received a negative reception from established modernist critics and theorists - Michael Fried characterizes it as an overtly performative practice. However, it soon became a popular form of fine art, precisely because of the performative role it has in the visitor, which serves as a counterweight to the highly modernist Greenbergian art practice. Installation discourse emerges at the ontological turn, which initiates postmodernism out of modernism. With an intersubjective understanding of the viewer\u27s experience, the theory of installation art is almost entirely subject to phenomenological interpretation, and on top of that, the role of the visitor can be understood as primarily performative. Today, installation is one of the most established art forms, and the term is often misused. The definition of the installation must remain sufficiently open at the same time, but not too broad. It is distinctly spatially based, but at the same time dependent on each individual visitor. The activation of the installation visitor was already defined by Claire Bishop, later Anne Ring Petersen upgraded her definition of the installation with the concept of performativity. As today\u27s dominant artistic expression, installation has developed over the past fifty years, and installation discourse has also developed in accordance with the development of installation art. Both the artistic form and the discourse are not finalized creations, so the development will continue, which will require further theoretical study of the changes occurring in the visual arts