In the 20th century, art began by questioning its own constituents, then its domain of validity, and finally its fields of investigation. From here on, all the categories were traversed and studied, and the human sciences, along with philosophy and the exact sciences, were interrogated.
The narrative, the spectacular, the visible and the intangible became, and remained, the substance of creation - but also the everyday, the Other, the world...
While the artistic life of the 20th century was starting off with the experience of limits (Malevich, Duchamp, Schwitters; cf. the Biennale de Lyon 93) and enlarging to infinity its territory and problematics, photography and the cinematograph were profoundly modifying our relation to reality, time, memory, facts and the possible.
Mechanical recording, then the fabrication of moving, audible images, and, finally, the production of worlds that were totally manipulable by the observer endowed artistic ideas, concepts and projects with plastic, concrete sense-forms.
This is why contemporary art is taking up video, informatics, virtual reality and the cinema: 4 of the popular cultural forms of the 20th century.
From the first experiments in which the televisual medium made its appearance, up to the most recent research on virtual reality, which brings together informatics, synthetic images, real-time calculation, sensory perception and immersion in the image, the Biennale 95 will present a choice of works showing that artists have taken possession of the new technological instruments that have been provided by the 20th century.
New technologies constitute a new style of writing, a new syntax. They make it possible to reintroduce and synthesize all preceding problematics, to generate new ones, and to project these problematics into an act of communion. The visitor, as a thinking subject and, for the future, an acting subject, is immersed, experiencing the image in movement, live, producing it or ordering it up. The work derives its reality from the presence of an active observer/utilizer. The interactive work penetrates the area of communication.
From this point on, the image was directly produced by the machine. Its status was thrown into turmoil. Real time or deferred time, verifiable or simulated time, the image no longer belonged to the domain of reproduction but to that of production as such. It began to invent its own world, in default of an ability to reproduce ours.
|Ministère de la culture||Biennale d'art contemporaine de Lyon 95|