جستجوی مقالات مرتبط با کلیدواژه "هنر چیدمان" در نشریات گروه "هنر و معماری"

Faiq Ahmed's installations challenge the practical nature of carpets. His works have displayed rich colors and abstract patterns in the form of shapes that are decomposing and collapsing from the walls of the gallery, and the physical and material nature of these rugs is the main issue of the current research. Therefore, with the aim of identifying the characteristics of Ahmad's installations works, the question was raised, what is the structural phenomenon of space and time in the carpet-based installations of Faiq Ahmed's works? The data collection method of this article was done in a library manner by adopting a qualitative approach and an interpretative phenomenological method, which had a descriptive, analytical nature and a fundamental goal. The results of the research showed that the carpet, as the main medium of installations and its material, i.e., wool, has a dynamic and fluid quality that has created various aesthetic dimensions in relation to the phenomenon of space and time. The structural phenomenon of space in these works interacts with viewers through the coexistence of traditional culture and digital culture, and the artist provides a new reading for the audience; the internal logic of Ahmed's works is determined in relation to the space and a new discourse is formed in the game with the gallery space In all historical periods, carpet has always been considered as a functional object that this aspect has taken precedence over other aspects. Rug art in the postmodern era enters a new phase in which carpet is not only considered as a substrate and introduces new aspects in postmodern art; so that artists, both at home and abroad, have re-read the art of carpet weaving and innovatively expressed its conceptual or deconstructive expression. This study deals with the phenomenological study of the installations works of the Azerbaijani artist Faig Ahmed as one of the most prominent artists of the postmodern period who has created a new quality in the rug as an artistic tool. Among the works of postmodern artists who have considered carpets as works of art, the works of Ahmed have more variety and complexity that recognizing it for artists and researchers, this research can lead to the recognition of unknown qualities and unconventional applications of carpets in the context of postmodern art and provided a new platform in the field of research and application, which on the one hand provides new fields of study for researchers with the main concepts of this research. On the other hand, it will lead the artists of modern art to how to use carpets in the context of postmodern art. In creating his installations, Ahmed studies color, geometry and movement, which is accompanied by manipulating the pattern, color, or expanding the rug-based installations in dimensions and viewing angles and provides a new reading of the phenomenon of space and time of the carpet for the audience. Therefore, the main issue of the present study is to analyze the structural phenomenon of space and time in the compositional works of Faig Ahmed and with the aim of identifying the characteristics of Ahmed installation works, studies the nature of the carpet and the physical and material importance of Ahmed. In this regard, the question arises as to what is the structural phenomenon of space and time in the carpet-based installations of Ahmed's art works, and what space does the wool material in the form of rug media provide for the audience?  Phenomenology, rooted in modern philosophy in the mid-twentieth century, has a special capacity in the analysis of contemporary art, because contemporary art transcends both the historical teleological boundaries of art and cultural boundaries. New technologies along with new forms of communication have slowly penetrated all walks of life. For modern technology, there is no boundary between culture and tradition, and for humans there is still a boundary between culture and tradition. Thus, just as technology has permeated traditional living societies, tradition has permeated technology and expanded its boundaries. Through his installation works, Faiq Ahmed portrays the imposition of digital aesthetics on the traditional patterns of Azerbaijan. By forming a phenomenological reading of Ahmed's works, one can not only engage with the formal aesthetic features of the rugs, but also understand the inner logic of the works that is created throughout his collections through the specific physicality of the installations. Without wool and its unique material physics, the individual installations of Ahmed's carpet collection would not exist as they are, and the viewer would not understand the specific phenomenology of the works as they should. After creating this understanding, carpets can be reinterpreted through symbolism and history to create meaning, because these works exist in layers that go beyond the physical aspect. The works of this artist can be separated into three levels considering the spatial structure: Installation works on the gallery wall space, Installation works with the conflict between the floor space and the gallery wall, and three-dimensional Installation works such as sculptural works and reliefs. The structural phenomenon of space in Ahmed's installations creates a new discourse in the path of the connection between the game and the gallery space. The structural phenomenon of space is used in Ahmed's works by combining and linking past and new patterns in a deconstructive way; he brings the digital language to Azerbaijan's carpet weaving tradition by combining modern and ancient sensibilities to show the power of tradition through the expansion of digital technologies. The coexistence between traditional culture and digital culture is not without tension and sometimes leads to melting. Ahmed's works transform the viewer's experience of carpet installations through the manipulation of color and suspend the properties of wool as the main material of the works. Ahmed's installations also suspend the phenomenon of time so that at the same time is interpreted as meaningful spaces that establish a link between the past and the present. The compositions of the Azerbaijani artist make the way of reading time for the audience out of the linear and simultaneous reading, and the audience will have a reading over time to receive some of the works. Through the manipulations he creates in the texture of the carpet in his installations, Ahmed shows the audience the flexibility and breadth of the woolen thread by creating simple knots, which transforms the nature of the carpet not only in practical dimensions but also in terms of its aesthetic dimensions. It injects a quality of color into the wool and thereby suspends the viewer's belief in the physical reality of the medium; it becomes difficult for the audience to recognize the nature of wool as the main material of the rug, and finally the audience is delayed in understanding the structural phenomenon of space and time.  Finally, in order to consider the installations through the lens of phenomenology, the audience as a viewer can benefit from the inherent beauty in the installation works based on Faiq Ahmed's carpet: soft wool, bright color, their aesthetic evolution in space and time: Recognizing the forms of Ahmed's collections as a space for aesthetic.
 
This article is extracted from the author's research project titled "Reproduction of Carpet Art in the Postmodern Era" in Shahrekord University in 1400.  The author is grateful for the financial support of Shahrekord University's Research Vice-Chancellor to conduct this research.

Art in the last decades of the twentieth century has taken on a plural and multimedia nature; it has broken the boundaries of a particular media and gone beyond it, making it possible for multiple media to be present in the process of creating an artwork. This research, conducted in a descriptive-analytical manner through library methods, examines the interaction between the media of painting and the media of installation in contemporary art, based on 15 case studies of Iranian artists to answer the question of how painting interacts with installation art in Iran. The findings of this study indicate the following: 1. The presence of a painting next to an installation and presenting it as a collection, the direct use of painting on objects and presenting it as an installation work, and the use of objects on a painting and presenting it as a work in the form of a painting are among the interactive interactions of the two media of installation and painting in the works of Iranian artists. 2. The work is influenced by styles, themes, and famous paintings, the use of visual elements and the characteristics of painting (color, light, composition, and visual basics) as well as the way the installation is presented like a painting are among the effects of the media of painting on the media of installation in the works of Iranian artists. 3.Painting installations and the use of installation techniques in the presentation of works are among the effects of the media of installation on the media of painting in the works of Iranian artists.

The main issue of the contemporary world is the crisis regarding the climate in all of its dimensions, which also involves various aspects of natural phenomena. Aligned with the environmental issues and natural phenomena, preferred themes of contemporary art, coupled with the achievement of rejecting the art object, are related to the definition and alteration of the artwork’s presentation, the presence of the audience with the experience and understanding of the aesthetic object, along with focusing on the natural phenomena and matters concerning them. By discovering the limits of artwork’s presentation and by broadening its definition of them, contemporary art has established the possibility of perceiving them in terms of experience in the form of three-dimensional installation beyond the horizon of sensory experience and in a tangible connection with the material world. On the other hand, addressing the social problem is a mission that contemporary art pursues pragmatically, in the dimension of biological concern, and by relying on making its dangers tangible for the audience. Therefore, contemporary art is a wide area for choosing social themes with a focus on sensory perception and perceptual forms for the audience. The knowledge of philosophy, which seeks to explain the essence of all phenomena, while studying any kind of them and their description, along with the manner in which they appear in the time and place which the knower perceives, focuses on the appurtenances of the perception of phenomena using a phenomenological approach; meanwhile, Mikel Dufrenne’s reading of phenomenology is to elucidate the object and cognitive aesthetic experience (understanding the aesthetic object through experience) and aesthetic perception in art. According to Dufrenne, the perception of aesthetic experience in art is drawn on three levels: pure physical presence, representation (mostly as imagination); and feeling (leading to expression). The description of the experience of the work of art in this reading is important for the reading of the works of contemporary art, which creates the possibility of sensory experience for the audience, in that it focuses on the experience of the object and the experience of the observer as a cognitive aesthetic experience. Since phenomenology, in philosophical terms, focuses on the experience and perception of the world, and its dependent components in contemporary works of art are rediscovered by the audience through renewed understanding and in an interactive and experimental way. According to this reading, the object and aesthetic experience are inseparable, and with the presence of the audience based on sensory experience, the cognitive aesthetic experience becomes possible, and through that, the inclination to deal with natural phenomena in contemporary art can be explained. By relying on the study of the weather qualities and using humidification devices, the weather project by Olafur Eliasson in the space of Turbine Hall, immersed in a thin fog, which, together with the sun, is reflected at the end of the hall by hundreds of single-frequency yellow lamps that are installed in the form of a semi-circle behind a semi-transparent semi-disc, which creates a new understanding of the category of weather with the illusion of being close to the sun and the sky, so by suspending the lived experiences, stimulates the visualization of presence in the time situation and redefines the place, and changes the audience’s attitude towards living in the world.The first stage of the phenomenology of aesthetic experience in Dufrenne’s terms is the stage of presence, which includes sensory presence. In the experience of the work of art, presence is as a body, and artistic awareness is as a perception of the body. The weather project, which was presented in the form of an installation, by benefiting from the atmospheric qualities that are basically perceived with the body, is inclusively based on the presence and perception through the physical senses of the audience (phenomena includes the senses of touch, smell, and sight and activates them), and the meeting of the work of art and the body is the starting point of the artistic perception of this work. Therefore, by adapting the way of presenting the work in the form of installation, focusing on the position of the audience in contemporary art, and identifying and applying the aesthetic object in Dufrenne’s reading, which insists on the observer’s experience, the weather project provides both the fulfillment of the stage of presence and identification of the aesthetic object. Therefore, the aesthetic object in the weather project is the very same principle of the formation of the work of art, which is the atmospheric qualities and representations of natural phenomena.The second aspect of Dufrenne’s aesthetic perception is reappearance or representation or imagination; which is called the intermediate representation between presence and reflection, which mainly appears in the form of imagination. In the weather project, the atmospheric condition in time and place is represented in a fixed way that everyone is facing (time is created based on the light and the representation of the sun and the presence of fog, and the perception of the color of the light determines the specific moment for the audience and the spatial representation is provided by visualizing the proximity of the sun and the expansion of the place by means of a mirror that increases the size of the surfaces, and on the other hand, creates a situation of reflection). In fact, it is the creation of memories of fog, along with humidity and yellow light, which evoke London air pollution with the centrality of Tate Modern for the audience, and despite the absence of pollution in the hall, the memory of being in such an atmosphere is predicted for them.In the third stage, the process of perception proceeds with reflection, feeling, and organizing the imagination, which dialectically and simultaneously leads to an aesthetic experience. In the weather project and through a phenomenological process, the spectator has the opportunity to see their reflection in the ceiling mirror to perpetuate the memory of air pollution; In the weather project, the audience apart from daily life and by suspending the assumptions they feel about the weather is presented with the opportunity to experience the representation quality. The audience’s action (in the form of feeling) is actually a response to the process of experiencing the aesthetic object as if the mirror reflection is the completion of the perception process in the aesthetic experience, which is an empathetic approach in response to the image of the audience in the mirror in dealing with atmospheric phenomena and spatial and temporal location. Therefore, according to the phenomenological aspects of environmental settings, the work of art will never be complete until the spectator experiences and interprets its specific qualities; and its effectiveness will take place through physical perception, and eventually, reflection on it.The result is that the weather project, by creating an unmediated reminder of the weather, objectifies the time and place, which is the evolution of the state of the public in the urban space as a collective matter, and the visitors ultimately experience the aesthetic object with an emotional and reflective quality, following an empathetic approach. Therefore, the recent approaches of artists in raising awareness about the environment (in line with the increasing growth of biological crises) are the use of phenomenological approaches in the perception of nature; since this genre tries to put the audience back in the experienced space, so they could get a deeper understanding of ontological qualities of natural phenomena (as they are), and to understand the current situation and their own relation to it in the form of redefining the physical totality of the natural world and uncertainty. [1] This article is based on the first author's Postdoctoral research project entitled "Critical Approach of Contemporary Art to Environmental Justice" at Iran National Science Foundation, Tehran, Iran.

Installation art is a subset of conceptual art that was recognized as one of the world’ s artistic styles in 1990s. This artistic style is always based on the idea and concept of the artwork that attempts to attract the audience directly.  One of the methods for attracting the audience is interactive arts, so that the audience enters into the collaboration with the artist for creating the meaning. Interactive arts are a type of art form that requires the involvement of spectators to achieve its purpose. Some interactive art installations achieve this by letting the observer or visitor walk or be present at the center of artwork. This kind of art invites the audience to be present in the artwork and to create the meaning by filling the blanks or gaps. In addition, interactivity causes to create the collaboration and discoverer audience, it makes much more beyond mental activity. The aim of the research was to find the role of audience interaction in interactive installation artwork. One of the artworks of Leonardo Erlich is interactive installation art, which was shown at the 21st Century Museum of Contemporary Art in Kanazawa, Japan. He created an illusory swimming pool that seems to be filled with water. The analysis of this artwork was done based on the theory of reception aesthetic. Reception aesthetic is one of the reader- response theories which was proposed by Wolfgang Iser. He is one of the famous exponent of Reception Theory in contemporary literary field. This theory was evolved in 1967, while he was working in the University of Konstanz. He considered to some part of the text that make tendency for reading, or influence the reading. And also some part of the text which are important for understanding it. The reader’s role as a structured act refers to how reader fulfills the textual structures by causing them to converge within their imagination. In other words, the textual structure are connected and come to life when a reader takes part in the reading process. He suggested the theory of gaps or blank in artwork, and also demonstrated that the audience creates meaning by filling the gaps. Whenever the audience fills the gaps in the artwork, the interaction is begun between them. Indeed, communicating and influencing by aesthetic is the most important aims in the artworks. Creating the meaning by the audience will be done through making hypothesis, reading strategy and then through removing and highlighting some parts of the hypothesis, meaning is created. This research was done by descriptive -analytic method and also by library information. The result of the research indicated that the audience fills the gaps in interactive installation art through presenting in the center of the artwork. Creating a meaning will be done by the audience. Also the theory of reception aesthetic overlaps completely with the steps of the audience interaction in artwork. Finally, Reception aesthetic can determine one of the important features for contemporary art to analyze and criticize new art and contemporary artistic interaction.