How to Learn to Understand Contemporary Art: A Glossary of Key Terms

Contents:

• Model and People
• Concepts and Objects
• In and Around the Gallery
• Terms Are Not Always Important in Contemporary Art

The "language of contemporary art" emerged and developed in the United States and then spread to other countries, encountering translation difficulties. Many terms used in this field were originally formulated in English, and they often lack exact equivalents in Russian. In this article, we will examine in detail the key terms and concepts of contemporary art, illustrating them with examples for a better understanding.

Mode of Action and People

Performance is one of the most common concepts in contemporary art, meaning "performance." The main difference between performance and traditional performances is the use of a variety of artistic means, where performers act not only as actors, but also as authors. Unlike classical art forms, spectators in performance are often not separated from the artist by a fourth wall, which creates a closer contact between performer and audience. This interaction allows spectators to become part of the process itself, which makes performance a unique form of self-expression and art perception.

Immersion, interactivity, and participatory art are concepts that describe new forms of interaction between spectators and works of art. These approaches create a unique experience in which the audience becomes an active participant, not just an observer. Interactive elements and the ability to interact with the environment make art more accessible and engaging. As a result, such art forms attract attention and contribute to a deeper perception of the works.

Immersiveness, from the English word "immersive," means "immersion" and promotes a deeper perception of events by the viewer. It draws the audience into the art space, creating an atmosphere in which viewers can interact with the works of art. Art exhibitions can include interactive elements, such as games, that explore the themes of the exhibition. Immersive performances, in turn, take place in a single space in which the audience becomes part of the action, which enhances the effect of presence and involvement.

Interactivity, derived from the English word "interaction," denotes the process of interaction. In the context of performance, interactivity manifests itself when performers encourage audience members to take action, ask questions, or offer various forms of interaction. This audience activity, triggered by the actions of actors or designers, creates a deeper connection between performer and audience. An interactive approach in art serves as an effective means of immersing viewers in the atmosphere of a performance, establishing closer contact and involving them in the process.

The term "participation" comes from the word "to participate," which implies that the viewer is actively involved in the events of a play or performance, influencing their development. A museum can also become a space for participation, providing the opportunity to create a unique experience with the exhibition. This can include themed games, additional materials, and other tools that the viewer can use at their own discretion. A key aspect is that each visitor forms their own perception and interaction, responding to the atmosphere created in the museum. Thus, a participatory approach enriches the viewer's experience and makes interaction with art deeper and more personal.

An extreme form of performance, which transcends time and reason, is when the artist's life itself becomes art. A striking example of this is Taiwanese artist Teichin Hsieh. While working as a dishwasher in New York, Hsieh sought inspiration for his performance and came to the realization: "What else am I looking for? I don't have to go beyond my work to find art, I'm already in it." This revelation underscores the importance of everyday life as a source of artistic expression and inspiration. Creativity can manifest itself in the most ordinary activities, and this is precisely the essence of contemporary performance.

The artist went through five years of intensive performance, during which he imposed strict restrictions on himself. One year, he completely abstained from leaving the house, reading, and watching television, and another, he spent time on the streets, avoiding shelter. After these five years, he devoted 13 years to creating art, showing his work to no one. After 18 years of performance, the artist finally left art, sacrificing the most valuable thing - his time.

Marina Abramović became known for her performances, which often put her life in danger. One of her most famous projects is "Rhythm 0," during which audiences were allowed to interact with the artist in any way they wanted for six hours. Initially, audience participation was restrained, but the situation soon spiraled out of control: Abramović suffered cuts, and security had to intervene when a gun was held to her head. Another risky performance was "Energy of Rest," in which Marina and her partner Ulay balanced on a bowstring aimed at the artist's heart. Performances can extend beyond art spaces. For example, in her project "Save My Soul" (2000), Russian artist Elena Kovylina set out on the open sea in a rowboat without oars, prioritizing art over her own safety. This experiment nearly proved fatal for her.

Happenings (from the English word «happening» — "Happenings," "happenings" are performative improvisations. These events have a semantic basis, but participants interpret it with various nuances, sometimes drawing on current reality. Your active participation can significantly influence the course of the performance, making it more personal and unique. Happenings, as a form of performance, are distinguished by the absence of a strict script, which allows for the creation of dynamic and unpredictable events in which each participant plays an important role.

Concepts and Objects

In 1917, artist Marcel Duchamp presented a urinal at an exhibition of independent artists, which he signed and exhibited under the title "Fountain." This work of art is an example of the readymade, a concept in which an ordinary object is placed in an artistic context and acquires new meanings. Duchamp radically changed the perception of art, showing that ready-made objects can be transformed into art objects, which influenced the further development of modern art.

The banana idea is that the artist sold a certificate containing instructions for the installation. This allows the owner to replace the bananas, and each one will be considered an artistic work by Maurizio Cattelan. Only two such certificates were sold, and the third was donated to the museum. This approach raises questions about the nature of art, copyright, and conceptual creativity, making this installation significant in the contemporary art world.

The readymade opens up many directions in art, including found poetry, where existing text is reinterpreted and transformed into poetic form, and blackout poetry, which is the creation of a new statement by crossing out certain words or phrases from the original text. These techniques allow artists and poets to explore the boundaries of language and expression, creating unique works that evoke new interpretations and emotions.

A found object differs from a ready-made in that the found object itself can inspire the artist. Unlike a ready-made, where objects often require a specific context, a found object fits seamlessly into the artistic concept. The artist can use it in their installation, imbuing it with new meaning and context, creating a unique interaction between the object and the viewer. This allows viewers to look at familiar things in a new way and rethink their role in art.