تحلیل رابطه "شیوه بازنمایی" و "مکان نمایش" در هنرهای جدید (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هنر که به نوعی عمیق ترین تجربیات ادراکی هنرمند را بیان می کند، همسو با تغییرات زندگی و دریافت های ذهنی انسان، شکل های نو و تازه ای به خود می گیرد. در دهه های اخیر از نقاشی های انتزاعی و مجسمه های مدرن تا انواع هنرهای دیجیتالی، در زمره هنرهای پیشرو بوده اند. همراه با این تحولات، مکان نمایش هنرهای جدید نیز نیازمند فضاهایی درخور آثار و معرف ذات پویای آنها شده است. در این مقاله رابطه هنرهای جدید و چگونگی شکل گیری فضای معمارانه نمایش آنها مطالعه شده است. به این ترتیب که ابتدا با دسته بندی انواع هنرهای جدید که در دهه های اخیر به وجود آمده اند، نمونه هایی از فضاهای معماری که برای نمایش آثار هنری جدید طراحی شده اند، بررسی شده و با مقایسه ایده های طراحی و بسط مبانی نظری، ویژگی های مورد نیاز فضای معماری متناسب با هنرهای مذکور، تحلیل شده است. نتیجه مطالعه، هرچند تداوم طراحی فضاهای نمایش آثار فاخر هنری و یا احجام تندیس گونه موزه های جدید را نفی نمی کند، برای نمایش گونه های مختلف هنرهای جدید فضایی تعاملی پیشنهاد می کند که در بخش هایی از آن، فضای طراحی شده در تناسب با آثار به نمایش گذاشته شده، به عنوان اثری هنری نمود پیدا می کند و محیط تعاملی حاصل، با محوریت رابطه هم ارز اثر و فضای نمایش، بستر مناسب تری برای درک مخاطبان و تحقق منظور هنرمندان خالق آثار فراهم می آورد.An Analysis of Relationship between ‘Method’ and ‘Place’ of Representation in Postmodern Arts*
Art, that somehow expresses the deepest perceptional experience of the artist, will take new forms in accord with changes inone’s life and subjective perception.In recent decades many art forms, from paintings and modern sculptures down to various forms of digital arts, have been considered avant-garde. Based on these evolutions, the place of representation for these new or postmodern arts needs to beimproved tobecome compatible withtheir characteristics and dynamic essence. The basic question in this regards is that how can one create an interactive relationship between the museums’ spaces and the different forms of representation in new arts? In other words, what effect wouldthis interactive relationship have on the process of designing museums compatible with representation of these kinds of arts? In this article the relationship between new arts and the process of forming architectural spaces representing them in the best way,is studied. For this purpose, the new arts emerged in recent decades are first being categorized followed by examples of architectural spaces designed for representation of each category.Finally,by comparing the different design ideas and developing theoretical basis, the necessary characteristics which the architectural spaces need in order to become the best context representing new arts, are analyzed. The new arts including land art, happening art, performance art, video art, interactive art, digital art, art in the web, video art and virtual reality are divided into five categories. Three of themwhich need certain physical placesfor their representation are considered. Some existing museums were selected in a purposeful manner and were divided into three kinds,based on emphasize on the ‘artistic product’, ‘exhibition space or interactivity’ and ‘having similar emphasize on the artistic product and the place of representation.’An analyticalmatrixmodel was organized, which includes three kinds of new arts on the one side and three kinds of new museums on the other. Regarding the three kinds of museums the relationship between the artistic product and the place of representation are analyzed in three macro, middle and micro levels. An interactive space for representation of different forms of new arts, in parts of which the designed space will itself be considered as artistic work in harmonywith the works presented there. The resulted interactive space whose emphasize will be on both the work and its place of representation will provide a better context for the audiences’ perception and realizing the aims of the artists who created the works.Introducing an interactive relationship between art and its place of representation does not mean that a single architectural solution to the subject is prioritized. For such interaction there may be different architectural responses based on different cultures and geographical conditions. Moreover, the desired interaction between the art work and its place of representation does not dismiss the need for constructing cultural spaces for exhibiting great works of art or constructing monumental buildings in those cities lacking a history of considerable cultural background.
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