![]() ![]() Ephemeral art often involves works that do not exist in a steady state, but change or decay slowly. This definition identifies four characteristics of ephemeral art: time, communicative act, inherent vice and directive intent. I will begin with a refinement of the definition of ephemeral art, which is often confused with temporary works. In this thesis I explore the hypothesis that the use of ephemerality by some artists is best understood, not solely in terms of art world issues but of the relationship between ephemerality, mourning and loss. However, in many ephemeral artworks something much more fundamental is involved. Key-Words: Inflatables, ephemeral interventions, site-specific interventions, contemporary artĮphemeral art is usually understood as reflecting a desire to dematerialize the art object in order to evade the demands of the market, or to democratize or challenge art museums. The common denominator is to establish a connection between architecture, city and art, through large, ephemeral and habitable collective works that dialogue with the existing place, stimulating its reinterpretation. This paper presents a clipping of the work of the artistic collective Penique Productios - the inflatables - their references and methodology, highlighting two interventions in Rio de Janeiro, carried out in a partnership between Penique, DAU PUC-Rio and FAU/UFRJ. Art, on the other hand, can respond with almost absolute freedom, uncompromising with the proper habits of living, in which the act of dwelling can be questioned, freeing itself from its responsibilities related to life. Its status as a built object requires an adequate response not only material, structural, spatial and environmental, but also in meeting the most vital demands of these acts. Nowadays, the isolated streets in many different parts of the world reflect a universal reality which urges a re-connection with the natural environment to which we belong, as well as a transformation of the sociocultural interactions that emerge from responsibility, equality and the common good.Īrchitecture, a discipline called to design the living places, usually operates within a logic that has as main objective welcoming human acts. The greater the proximity, the greater the change in the scale of the work, therefore, it is possible to feel immersed in the piece and identify the natural material, which in its arrangement and place, reveals the garden utopia –symbol of harmony between itself and the atmosphere portrayed in a living work of art. Such artistic intervention allows physical proximity in a whole overview vision of urban context, design displays Mexican art values and transforms public space. It is in that public space where it is embraced that a dialogue is modelled a dialogue where not only formal appearance but also designing constructive one converge, as an artistic, philosophical, and spiritual expression of its community itself. Tapestry ephemeral art temporarily and actively transforms their surroundings. ![]() ![]() Traditional ephemeral art is conceptualized as a utopian space where diverse elements, people, as well as a wide variety of activities converge those are the ones who transform reality through cultural expression, exploring habits and values which pursue a common goal in a livingly way, and improve social coexistence. Similar to the garden – in the strict philosophical sense- Traditional Tapestry ephemeral art represents a utopia it stands for an aesthetic theory of beauty and a vision of happiness. The way in which we experience public space is closely related to the sociocultural and environmental conditions of the context. ![]()
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