I read Lucy Lippard’s , “Six Years: the dematerialization of the art object” which was very interesting.
It is focussed on breaking the barrier between art and life. Lippard has rightly said that art forms are confined in their respective frames will not allow breaking the barrier between art and life.
I came across Clarence Schmidt’s lifetime environment. Charles Schmidt and his hazardous environmental sculpture. Schmidt spent 45 years embellishing and enlarging what was, a thirty room, four level, pleasure dome. ”avant-garde assemblage” The tourist attraction was a subversive threat to property values and was lost to fire in 1968.
I found this artwork a reflection of leaving taste and preference aside and relying solely on chance operations, a completely unforeseen schedule of events could result, not merely in the preparation but in the actual performance; or a simultaneously performed single moment; or none at all.Time follows closely on space considerations should be variable and discontinuous. Real or experienced time is different from conceptual time. I agree completely that Time accelerates – when you look at the clock or time a certain experience –
This reminded me of playing board games like Pictionary and Boggle and how time plays a role in these. Pictionary is a timed game is played with teams with players trying to identify specific words from their teammates’ drawings. In Boggle have three minutes (shown by the countdown timer) to find as many words as they can in the grid, according to the following rules.
I am also intrigued with idea of time, space and age getting escalated. Recently I tried to create a VR experience where I tried to manipulate the time, age and space that develop around a narrative. But now I realise that this also has a respective framework and has a set of rules
Here is the attempt – in trying to reinterpret a scene from “2001 A Space Odessey” and teleporting the viewer to different stages from a person’s life.