Theatricality in works of art is always perceived as live stages that encompasses different layers of understanding and perception!
Theatricality can be understood in many different ways, but will still remains as an undefined term because it encloses so many characteristics that can be found in completely different artworks, whether it is in a work from Mark Rothko or by Mathew Barney! Nevertheless it is always a group of materials or factors that are determined to be set together with a specific intention.
This assemblage of objects/characters becomes the set for a performance; an interactive action; or just simply contemplation. The paradigm of contemporary theatre reflects upon its history and the relevance and importance of its legacy and perhaps the pertinence of innovation and criticism.
The pertinence of theatricality in the art world is not something can be put aside because it is inherent to the system of creation and creativity. When a work is set up in an exhibition the artists had reasons why to display in that way or even why to make that work. Those same interests of the artist are already present as a simulation and recreation of some kind in order to set up a plan of what may happen or not!
Action itself is something that involves rhythm and dynamism and these are attributes of the contemporary theatre, but these same attributes are also crucial to the display and understanding of an art work!
The object by itself is part of a system that revolves around itself, and this system corresponds to certain rules that are in some way the reenactment of life that the object will suffer, which are present in the mise en scene of a grand work of art independently of its medium.
Nevertheless when an art work gains the attributes mentioned before, the importance that it gains is still less relevant compared to the action that is required to access the work and its meaning. By this the object implies a set of actions that are inherent to its understanding.
However if the action is not taken but simply understood is still a center of chaos and constant dynamic. A total immersion that despite all the factors will still imply a great deal of simulation and spectacle! Ilya Kabakov takes it further with the essays on total installation.
When an object assumes a reference to its function it becomes clear that has a notion, functionality concerns its meaning and by that the stage is ready to receive the guests!
Even when the assemblage of objects is itself a radon collage of objects the group forms something that has a meaning. However if there is different layers between the nature of the objects it is natural that contradictions will arise. In addition that conflict is already part of a set of consequences that were indicated by the audience and that obviously presupposes that a stage for an action has happened even if for only a couple of seconds.
Nevertheless the arrangement of a work can be quite literally translated as a mise en scene that a set of actions has allowed! Something that is staged, but suddenly over layers the object but at the same time gives it other capacity of understandings between the public and the actors that become one alone. The spectator is then the author of something and the author/artist is nothing more than a piece in the all game of playfulness and joy!
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