Digital art is open, transient, interdisciplinary, multimedia, processual, discursive, concept- and context-dependent, and, in addition, is increasingly oriented toward interaction with the recipient. Within the evolving art genres, virtual art has begun to further dismantle the traditional tableau; this time, in favor of a processual model of art. Interaction, telematics and genetic image processes not only encourage the crossing of boundaries; they also drive the trend toward fusing the perception of the users with interfaces that increasingly assail the entire suite of human senses. There are now immersive works that integrate into virtual art the genres of architecture, sculpture, painting, scenography, theater, film, photography, and even historic image media such as the panorama. The author demonstrates that concepts of immersion that are primarily mediated in a visual form have their own art and media history, a course that comprises various stations before reaching the present time. [more]more
By way of an introduction to this issue of e-flux journal, I would like to discuss the changes in our understanding and perception of art engendered by conceptual art practices of the 1960s and 1970s, focusing not on the history of conceptual art or individual works, but rather on the ways in which the legacy of these practices remains relevant for us today.I would argue that from today’s perspective, the biggest change that conceptualism brought about is this: after conceptualism we can no longer see art primarily as the production and exhibition of individual things—even readymades. However, this does not mean that conceptual or post-conceptual art became somehow “immaterial.” Conceptual artists shifted the emphasis of artmaking away from static, individual objects toward the presentation of new relationships in space and time. These relationships could be purely spatial, but also logical and political. They could be relationships among things, texts, and photo-documents, but could also involve performances, happenings, films, and videos—all of which were shown inside the same installation space. In other words, conceptual art can be characterized as installation art—as a shift from the exhibition space presenting individual, disconnected objects to a holistic exhibition space in which the relations between objects are the basis of the artwork.
For Croatian artist David Maljkovic, methods of display and the treatment of the exhibition space are central concerns. Considering the architectural configuration of the space a ‘language’ through which to frame, contextualise and re-read the work, Maljkovic manoeuvres his films, sculptures, collages, paintings and installations like props in service of the larger mise en scène. For the artist, ‘Sources in the Air’ – an overview of his practice from the past decade – represents not a collection of works, but a new work in itself.