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In 2017, German artist Hans Jürgen Syberberg set up an installation entitled “Café Zilm”, which took place over a two-week period in the main town square in Demmin. This book is an attempt to understand the meaning of this work. The author takes into consideration some of the artist's earlier works (the films "The Night" from 1985 and "Edith Clever reads Joyce" from 1987, and the installation "Cave of Memory" from 1997), showing how they pave the way for art that would be free from an a priori attachment to a particular medium, as well as the central problem of Syberberg’s poetics, which can be formulated as distrust and at the same time trust in art itself.

Watching and Dreaming is a body of work that enables the viewer to peer inside the “mind” of a machine to observe its perceptions, mind wanderings, and dreams. This is not a metaphorical representation of dreams, nor a technical exercise in AI such as DeepDream [1] but the realization of a computational model of dreaming informed by cognitive neuroscience. This level of description avoids biases towards Jungian and Freudian psychology that assume dreaming is exclusively human. Dreams should not be considered independently of the perceptual capacities of the dreamer, and thus comparing this model to human perceptual abilities is problematic. For the audience, these artworks function as entry-points to consider the constructed nature of perceptions and the continuity of waking, mind wandering, and dreaming. For the artist, the artworks are sites of knowledge-making; it is through the making of artistic works that the model (computational formalization) and theory (argument that situates the model in empirical knowledge) are developed. The research underlying these artworks integrates knowledge in multiple disciplinary dimensions: (a) The computational modeling of dreaming processes (Zhang 2009; Treur 2011), (b) generative and media artworks engaging with the concept of memory and dreaming (Franco 2007; Dörfelt 2011), and (c) the conception of dreaming as imagination (Nir and Tononi 2010). In this text, Watching and Dreaming (2001: A Space Odyssey) (2014) serves as an exemplar of the Watching and Dreaming body of work. The machine attempts to learn and predict Stanley Kubrick’s film 2001: A Space Odyssey through the construction of its own subjective perception that is the basis of dreaming. “Mental” images generated during perception, mind wandering, and dreaming are subjective constructions bound to the peculiarities of the machine’s way of seeing. The body of work constitutes various manifestations of the cognitive model, not attempts to communicate the model’s mechanisms.

The article presents and discusses premises, processes and results of the workshop ‘’Offerings - Game-performance” organized in 2015 as part of the experimental format of the III International Seminar “Representar”, structured by remote and multicentric activities. The workshop faces the pervasiveness of global positioning systems (GPS) and geographic information systems (GIS) in the contemporary context, developing behavioral aesthetic works in order to update the concept of “drift” (Situacionist International) and to discuss some modes of urban perception that can be activated through the (mis)use of mobile interfaces and geolocation devices and the practice of artistic interventions in the city. O artigo apresenta e discute premissas, processos e resultados do workshop “Oferendas – jogo-performance” organizado em 2015 como parte do formato experimental do III Seminário Internacional “Representar”, estruturado por atividades remotas e multicêntricas. À luz da pervasividade dos sistemas de posicionamento remoto (GPS) e sistemas de informação geográfica (GIS) no contexto contemporâneo, a atividade teve como foco desenvolver trabalhos estéticos comportamentais no sentido de atualizar o conceito de “deriva” (Internacional Situacionista) e discutir alguns modos de percepção urbana que podem ser ativados por meio do uso e do desvio de interfaces e dispositivos móveis de geolocalização e das práticas de intervenções artísticas na cidade.

International audience; This article highlights the intentionalities and effects of artistic production of space in several peripheral, natural and rural spaces characterized by high value geodiversity. The art productions discussed in this article are located in four geoparks (Monts d'Ardèche and Haute Provence in France, Sobrarbe in the Aragonese Pyrenees and Lanzarote in Canary Islands, Spain). Site specific art installed in natural settings will oftentimes call upon this geodiversity, defined here as an abiotic geological heritage (sometimes exceptional in geomorphology, aesthetics or age), for inspiration in both form and materials used. This article is primarily concerned with the artistic and geographical specificities of these artworks, and then sketches a panorama of artistic production of space of four geoparks in France and Spain. Finally, the "services" provided by these artistic programs to the protected areas and to all the actors who animate them will be discussed. It appears that these various artistic productions can serve as tools of territorial control that allow certain artists, institutions and even administrations or businesses to claim or reclaim spaces they can/did not directly manage. This phenomenon could be a positive form of territorial control when it leads to the improved protection of geodiversity. However, it may also be criticized when it involves forms of political instrumentalization and uses strategies of territorial marketing, thus opening the door to tourist overcrowding.; Cet article développe les intentionnalités et les effets de la mise en art au sein de plusieurs espaces naturels et ruraux périphériques à haute valeur de géodiversité, localisés dans des géoparcs-UNESCO (Monts d’Ardèche et Haute Provence en France, Sobrarbe dans les Pyrénées aragonaises et l’île de Lanzarote, archipel des Canaries, en Espagne). L’art dans la nature peut s’intéresser à la géodiversité, définie comme un patrimoine géologique abiotique (parfois exceptionnel par sa géomorphologie, son esthétique ou son âge), tant dans ses formes que dans l’utilisation de ses matériaux. L’article se préoccupe d’abord des spécificités artistiques et géographiques de la mise en art de la géodiversité, puis esquisse un panorama de la mise en art des quatre géoparcs en France et en Espagne. Enfin, une discussion est ouverte sur les « services » rendus par ces formes artistiques aux espaces protégés et à tous les acteurs qui les animent. Il apparaît que les différents programmes artistiques in situ présentés dans l’article incarnent des outils d’investissement et de promotion territoriaux qui permettent à certains artistes, certaines structures artistiques voire à certaines structures territoriales de s’approprier ou de se réapproprier des espaces dont ils n’avaient pas ou plus forcément la jouissance et la gestion directe. Cet investissement territorial peut être perçu positivement quand il permet d’améliorer la protection des paysages. Il peut être aussi source de critiques quand il implique des formes d’instrumentalisation politique, passant par des stratégies d’hyper-promotion territoriale et ouvrant la porte à une surfréquentation touristique.

L’architecture – les édifices et l’espace qu’ils inventent – cristallise une pensée particulière qui va de la conception à la réalisation. Or, souvent, l’usage des bâtiments donne une perception essentiellement fonctionnelle de l’architecture ; il en masque la pensée et ce qu’elle inscrit dans la matière et l’espace. Cet article invite à envisager la « pensée » et non la « beauté », pour tenter de suivre l’exemple de Konrad Fiedler (1841-1895) dans son questionnement pionnier sur les buts de l’art, aussi formulés de façon percutante par Paul Klee dans sa Confession créatrice (1920) quand il affirme que « l’art ne restitue pas le visible, mais rend visible ». Six interventions de Jean-Max Albert (né en 1942), sculpteur, peintre mais aussi musicien et écrivain, et une installation de Sara Holt (née en 1946), sculpteur, peintre, photographe et céramiste – Autumn in Peking (1987), Planches (1989), Ligeti (1993), Rayon (1986), Lumen poème (1984), Sculptures de visées (1986) – font résonner, chacune à leur manière, un trait de la pensée des architectes qui sont à l’origine des architectures et espaces que les artistes investissent et qui sont aussi différents que Joseph-Antoine Froelicher (1790-1866), Irving Gill (1870-1936), Cuno Brullmann (né en 1945) et Arnaud Fougeras Lavergnolle (né en 1943), José Oubrerie (né en 1932) ou Bernard Tschumi (né en 1944). Architecture – the buildings and the spaces they invent – crystallise a particular chain of thought from conception to realisation. But the thought inscribed in mater and space is masked by the building’s functionalities. To pursue the postulate of Konrad Fiedler, (1841-1895), a pioneering art theoretician, the aim of art is a question of ‘thought’ and not of ‘beauty’, an idea also formulated Paul Klee in the Creative Confession (1920): ‘Art does not reproduce the visible, it makes visible’. Autumn in Peking (1987), Planches (1989), Ligeti (1993), Rayon (1986), Lumen poème (1984), Sculptures de visées (1986): six interventions of Jean-Max Albert (born in 1942), sculptor, painter, musician and writer, and one installation by Sara Holt (born in 1946), sculptor, painter, photographer and ceramist, reflect an aspect of the thought of architects as different as Joseph-Antoine Froelicher (1790-1866), Irving Gill (1870-1936), Cuno Brullmann (born in 1945) and Arnaud Fougeras Lavergnolle (born in 1943), José Oubrerie (born in 1932) or Bernard Tschumi (born in 1944).

Diplomsko delo 'Kiparska instalacija v prostoru' odkriva situacije umetniške instalacije in izhodiščne motive pojava žanra, pri čemer izpostavlja sestavne komponente instalacije in razmerja med njimi, ki ustvarjajo nove kontekste prostorov. Na pojavnost oblik instalacije so vplivali mnogi dejavniki, ki so pripeljali do večjega poudarka na participatornosti gledalca, kar je sčasoma postal ključni element vsebine instalacijskih umetniških del. V prvem delu diplomske naloge je opredeljeno področje umetniške instalacije in pojavnost razporejanja 'tridimenzionalnih' sestavnih delov po prostoru, kar gledalec – prav tako kot sestavni del instalacije – neposredno izkuša z vsemi svojimi čuti. Umetnostna teoretičarka Claire Bishop zgodovinski razvoj instalacije razlaga glede na tip izkušnje, ki ga umetniško delo ustvari za gledalca. Predstavitev njene analize je v tej diplomski nalogi prikazana tudi s konkretnimi primeri instalacijskih umetniških del. Poglavje 'site-specific' art govori o različnih interpretacijah prostora, kar predstavlja enega od ključnih konceptov v umetniški instalaciji. Lokacijsko vezana umetnost obravnava prizorišče kot element platforme umetniške instalacije, torej kot realen prostor. Lokacijsko specifična umetnost, ki se je pojavila kot odziv na kapitalizem in institucionalno umetnost, ima pri razvoju instalacije pomembno vlogo zaradi spremembe kontekstov prostora, zato so v tem poglavju obravnavani tudi umetniški pristopi do urbanih in javnih prostorov. V slovenskem kontekstu se instalacija pojavlja v manjšem obsegu tako na notranjih kot zunanjih prizoriščih. Strategije slovenskih umetnikov v žanru instalacije so predvsem dekonstrukcija objekta, razširitev umetniškega dela na prostor in nato na situacijo. Na koncu diplomske naloge je raziskana narava izkušanja situacij, ki jih instalacija strukturira za gledalca. Situacije čutne potopitve, razsrediščenje gledalca in socialne komponente instalacije, igre umetnikov in metode interakcij so pristopi, ki zasedajo ključne aspekte pri postavljanju estetske sodbe instalacijskih del. This diploma thesis with the title Sculptural Installation in Space is intended to reveal various situations of the artistic form of installation and initial motives for the emergence of the genre, its constituent components, creating new contexts of space by establishing relationships between themselves. The respective thesis focuses on research of changes and impacts that modified the occurrence of installation forms throughout their development with an emphasis on participation of the spectator being a key element of the content of installations. The first part of the thesis provides a definition of the occurrence of the area of art installations and arrangement of their constituent 'three-dimensional' components in space, which are experienced by the spectators as integral parts of the situation with all their senses directly. Examples of installations are used to present the historical development of installations based on the analysis by C. Bishop who classified installations according to the type of experience created for the spectator by the respective art work. The chapter on the 'site-specific art' is about different interpretations of space, which is one of the key concepts in art installations. Site-specific art is focused on the scene as an element of the art installation platform, ie as a real space. Site-specific art, which has emerged as a response to capitalism and institutional art, plays an important role in the development of installations through changes in the context of space. This chapter also considers artistic approaches to urban and public spaces. In order to make a comparison, Chapter 7 studies the installation in the Slovenian context, which occurs to a lesser extent on both internal and external venues. Deconstruction of a building, extension of a work of art into space, and then into the situation are strategies applied by the artists to create in the Slovenian area as well. Finally, the thesis explores the nature of experiencing situations structured for the spectator by the installation. Situations of sensual immersion, decentralisation of the spectator and social components of the installation, artists' plays and interaction methods are the approaches covering key aspects in making aesthetic judgment of installations.

The artistic work Plante na Praça is a relational urban and discursive artistic action that was performed in a collaborative way with a community of the Said Chacur squarte, Santa Mônica, Uberlândia - Minas Gerais, Brazil. The present dissertation was prepared in a particular way. Therefore, it was named Dissertação-praça-siteótica . The work was composed by a group of objects; an action and images box, a driver and a notebook of texts that together compose a site. All this things are used to compose a site, of reflections and actions both in the physical and virtual space (on the internet). So, the study works in three ways: i) textual that discusses the artistic theory regarding the field of the present work; ii) imagetics, that allows the reconstruction of the place of Plante na Praça (even though partially); and iii) sensory, suggesting to the reader to move out of the reading space and put himself in action . The text discusses the contemporary art concepts of Site-oriented of Kwon (2008), the Environmental Art of Oiticica (1986), Relational Art of Bourriaud (2009), Aesthetic of Emergency of Laddaga (2012), Contextual Art of Ardenne (2002), critics of Aesthetics Relational, of Bishop (2012) and Kester (2006). In the politics, keeping in mind that an artistic actions is also a social action that interferes with common experience, we discuss mainly the concepts of Action and Liberty, of Arendt (1987); Dissensus and Emancipation, of Rancière (2012); Becoming and Micropolitics, of Deleuze and Guattari (1980, 2004, 2012); The Practice of everyday Life and Anti-discipline, of Certeau (2011). O trabalho Plante na Praça é uma ação artística relacional, urbana e discursiva que se estabeleceu de modo colaborativo com uma determinada comunidade na Praça Said Chacur, situada no Bairro Santa Mônica na cidade de Uberlândia-MG. Essa dissertação, embora de cunho acadêmico, apresenta-se de modo singularizado e, por isso, foi denominada dissertação-praça-siteótica. Caracteriza-se por um conjunto de objetos: uma caixa de imagens e ações, um direcionador e um caderno de textos que compõe um site, considerado um espaço de reflexão e de ação no espaço de leitura, seja esse espaço físico ou virtual (alocado na rede). De funcionamento triplo: (1) textual, com discussões teóricas que ancoram a ação no campo da arte; (2) imagético, que permite, por meio de fotografias, a reconstrução (mesmo que parcial) do lugar arquitetado pelo Plante na Praça; e (3) sensorial, que por meio de sugestões de ações solicita ao leitor que se coloque em trabalho . No âmbito textual, a discussão relativa às teorias da arte contemporânea passa principalmente por conceitos de Arte orientada para o lugar (siteoriented art) (Kwon: 2008); Arte ambiental (Oiticica: 1986); Estética relacional ( (Bourriaud: 2009; Bishop: 2012 e Kester: 2006); Estética da emergência, (Laddaga: 2012); e Arte contextual (Ardenne: 2002). No âmbito da interface arte/política são discutidos principalmente os conceitos Ação política e liberdade (Arendt: 1987); Dissenso e Emancipação (Rancière: 2012); Devir e Micropolíticas (Deleuze e Guattari: 1980, 2004, 2012); Invenção do cotidiano e Antidisciplina (Certeau: 2011). Mestre em Artes

Cet article envisage la situation esthétique dans laquelle nous met la chorégraphe Catherine Contour par ses Autoportraits en jardin. Il propose d’explorer, à partir des traces laissées par ces projets chorégraphiques depuis 2003, la délicatesse d’une situation au sein de laquelle le spectateur est interrogé sur sa propre posture et sur sa relation à l’œuvre d’art comme au paysage. The text deals with the aesthetic relationship in the art of self-portrait by the choreographer Catherine Contour. Analysing the documents about these Autoportraits taking place in gardens since 2003, it examines the delicacy of a situation, where a spectator should wonder about his relationship to art and to landscape.

International audience; Cet article envisage la situation esthétique dans laquelle nous met la chorégraphe Catherine Contour par ses Autoportraits en jardin. Il propose d'explorer, à partir des traces laissées par ces projets chorégraphiques depuis 2003, la délicatesse d'une situation au sein de laquelle le spectateur est interrogé sur sa propre posture et sur sa relation à l'œuvre d'art comme au paysage.

Il saggio è dedicato all'edizione di Kalenarte del 2014, intitolata "L’arte del Paesaggio, ovvero del connubio tra Cultura e Natura". Si tratta di un progetto articolato che si inserisce nelle attività del MAACK, Museo d'arte Contemporanea all'aperto di Casacalenda (CB) in Molise, riconosciuto come uno dei parchi d'arte contemporanea più importanti d'Italia, e consiste nello svolgimento delle residenze d'artista di Nelida Mendoza e Baldo Diodato, esponenti di rilievo della scena internazionale dell'arte contemporanea e nell'installazione delle opere site specific ideate d'accordo con la comunità locale. The essay is dedicated to the 2014 edition of Kalenarte, entitled "The art of the landscape, or the union between Culture and Nature". This is an articulated project that is part of the activities of MAACK, the open-air Contemporary Art Museum of Casacalenda (CB) in Molise, recognized as one of the most important contemporary art parks in Italy, and consists in carrying out artist residences of Nelida Mendoza and Baldo Diodato, prominent exponents of the international contemporary art scene and in the installation of site specific works conceived in agreement with the local community.

Where are the ends of ethnography? How detached can a site-specific work be? The point of departure for discussing these questions is Elsewhereness, a series of site specific experimental films, by Anders Weberg and Robert Willim. These take the possibilities for digital media in relation to site specific art to its extremes, juxtaposing the nomadic with the placebound. The works in the series are made solely from audio and video material found on the web, material that emanates from a specific place. The audiovisual pieces are manipulated and composed into a surreal journey through an estranged landscape, based entirely on the culturally bound and stereotypical preconceptions of the artists about the actual location. Elsewhereness is a comment on ethnographic practices, especially the assumptions that ethnography should be associated with empirical intimacy and the possibility of coming close to people in various contexts. Within several ethnographies and socially oriented site-specific art we’ll often find certain ideals embraced: participation, proximity and ideas about being “loyal to the field”, bearing witness, giving voice to people etc. Elsewhereness is instead a site-specific work where distance and even alienation is evoked. Not in order to achieve some kind of nihilistic stance, but to examine the elongations of the site-specific and the ends of ethnography.

This article addresses the role of private foundations in commissioning site-specific ephemeral art works: contemporary art projects of a temporary nature that are realised outside of public institutions. Though small in number, I argue that the private individuals creating and managing private foundations of this nature demonstrate a new form of patronage, creating in the process a new role of ‘curator/patron’. Equally, this process of realisation reflects the changing needs of contemporary art practice. Work of this scale and ambition would increasingly not be possible without the vision, perseverance and funding of these kinds of foundation. In Australia, this trend is demonstrated by two foundations: Kaldor Art Projects, and their commissioning of works by artists such as Christo and Jeanne-Claude, Gilbert & George and Jeff Koons; and the more recently formed Sherman Contemporary Art Foundation, whose first project was with Chinese artist Ai Weiwei. In this article, these examples are placed within the broader international context of foundation models such as Artangel, UK, Fondazione Nicola Trussardi, Milan, and The Public Art Fund, New York.