Особливості адаптації об’єктів сучасного мистецтва у галерейному просторі

Abstract

У статті досліджується процес адаптації об’єктів сучасного мистецтва, зокрема об’єктів у просторі, до галерейного середовища. Узагальнюється практичний досвід галереї актуального мистецтва “академArt”, заснований на практиці експонування ленд-арт проектів та інших об’єктів. Адаптація об’єктів аналізується з точки зору дискурсивності в репрезентації творів сучасного мистецтва.

The article deals with the process of adaptation of contemporary art objects, in particular objects in space, to the gallery environment. The practical experience of the contemporary art “AkademArt” gallery is generalized, based on the practice of exhibiting lend-art projects and other objects. Adaptation of objects is analyzed from the standpoint of discursiveness in representation of contemporary art works. The purpose of the article is to identify the specifics of formal adaptation and change in artistic discourse of objects of art that come into the gallery space from another environment. The purpose of the research determined the following tasks: to analyze and systematize the existing practical experience of adapting the objects of land art to the gallery space; to investigate modifications of forms and concepts in the situation of changing spatial discourse. Within the framework of discursive and installation approaches, there arise the questions about the change in the form and context of those objects that were not created for the gallery representation, but are forced to adapt to an artificial environment, such as objects of the land art. An interesting illustrative example may be the demonstration in the “akademArt” gallery of the artistic work of Kateryna Buchatska “Noither is bigger nor” and Yaroslava Maystrenko’s work “Connection”. We see the expansion and increase of semantic and visual influences on the viewer concentration in the situation of formal narrowing of the space to the size of the gallery. In this case, the gallery exposition becomes a constant, sterile fixation of the moment of the object's life for a certain time, when in the natural environment the project “lives” with its own life, changing daily and everyday under the influence of the environment, obtaining new meanings and forms. Thus, by studying the specifics of formal adaptation and changing the artistic discourse of objects of art that fall into the gallery space from another environment, we can make a conclusion that:-installation of objects in the gallery space requires their formal change in order to preserve and develop the author's concept;-the gallery serves as a means of creating a special situation for contemplation of the object and maximum concentration on its perception;-the exposition in the gallery is a stable and fixed intermediate (non-final) moment of the existence of the project;-the object of art, the gallery space, as well as the artist and the spectator are objects and subjects of interaction of the same degree of importance and exist in a unique space of intertextuality of contemporary art.