- Usually, not always site specific
- Activating spaces
- Working alongside institutions (intertwined into questioning within the art piece)
Miwon Kwon – One Place After Another (2004)
Framework:
- Site as an actual and physical location (Phenomenological)
- Site as a cultural framework define by institutional of art
- Site as a mobile , discursive narrative
Beatrice Con Bismarck
Game: within the Game: Institutional, Intitutionalisation and Art Education
Four Waves of Institutions Critique
First Wave: Heroic Phase
- Assumption of crisis
- Institutions that conceal and pinion art; Diverse exploitative mechanisms regarding structure and mechanism
- Institution a building or an apparatus
Second Wave
- Moved into insuttions to work concretely with collections using methods such as guided tours to reveal racist and sexist mechanisms
Third Wave
- Remain within institutions
- Play with personal and the poetic
- Aim to produce constructive proposals or models for institutional dilemmas
Fourth Wave
- Creating Pseudo-institutions
- Aim to question more comprehensive phenomena, such the economic structure of art, its working conditions and the demand for the spectacular
Alexander Alberro and Blake Stimson (2009)
Institutional Critique: An Anthology of Artists’ Writings
Artwork as a commodity that sits in a shop (gallery) to be bout and sold
Mel Bochner: Measurement: Room (1969)
What does the gallery space represent“To remove the work is to destroy the work” – Tilted Arch 1981
Christo and Jeanne-Claude
Wrapped Kunsthalle, Bern, Switzerland, 1967-68
Art that moves attention away from the object and places focus on the institutions or processes behind it. The gallery as no longer a neutral space
- The work belongs to the space in which it was made, both physically and conceptually
Art as a mix of being a fetishized object and commodity
The value of artworks in a gallery system
