Artworks That Used the Spatial Field as Form of Art
Throughout art history, the utilization of space has been regarded as a fundamental aspect shaping the meaning of artworks. The Renaissance era particularly emphasized the philosophical underpinnings of space, elevating its theoretical understanding within traditional aesthetics. Paintings of this period seamlessly blended observation, sensation, expression, and introspection.
From plein air landscapes to grand palaces, artistic explorations of space have inspired creators to capture the essence of beauty, reality, and fleeting moments. Artists engage with various spaces through their creative output, utilizing art as a powerful medium for communication, whether through captivating imagery, multimedia presentations, or immersive experiences.
In contemporary art, both the concept of artistic space and physical space have undergone significant development and expansion. Artistic interpretations of space encompass a wide range of dimensions, from the physical to the virtual and even the fictional. Space transcends mere physicality; it can represent a place, a location, a set of coordinates, a network, or a cognitive experience. The creative concept of space has evolved from three dimensions to two dimensions and beyond, becoming an indispensable foundation for artistic expression.
The evolving relationship between artistic space and physical space complements each other, shaping the very form of contemporary art. As artists continue to explore the boundless possibilities of space, it remains an intrinsic and essential element in all artistic endeavors.
Lucio Fontana, Spatial Environment ( Ambienti), 1949, installation view at Galleria d’Arte, Mendrisio
Lucio Fontana’s Spatial Environment artwork interprets how a space should work. A sculpture he positioned at the top of the room. He depicted the sculpture with colors, and the colors were photo sensible, was able to enlighten it. Peculiar way of gestural aspect, giving off the artists’ existence inside the space. Aim of the art the crystallize the idea of the contemporary potentiality of the art changing the social system, and embracing the power of the technology. Relationship of artwork and space not a direct sculpture nor a painting, mix of both of them but at the same time none. Luminous idea of opening a space is collaborated with not hanging on the wall but standing on the air. For the first time, looking at the art and also sharing the same environment is embraced by the viewer. Highly similar artistic speculation like we saw with the Duchamp’s ready-mades.
Anish Kapoor’s Untrue Unreal exhibition in Palazzo Strozzi, 7 October 2023– 4 February 2024
Palazzo Strozzi stands as an exemplary Renaissance civil architecture, boasting rusticated stone inspired by the Palazzo Medici, yet characterized by more harmonious proportions located in Florence, Italy. It serves as the backdrop for Anish Kapoor’s Untrue Unreal exhibition. This engagement between architecture and art unfolds through a combination of monumental installations, intimate spaces, and provocative forms, fostering a dialogue with the Renaissance building. The exhibition itself emerges from a direct encounter between the artist and a structure emblematic of Renaissance culture. It invites viewers to immerse themselves in the walls, offering a moment of meditation on the concepts of space, perspective, and time by employing the notion of “Non-Object,” thereby breaking down the boundaries between painting and sculpture. Through this exploration, it facilitates both a spiritual and physical journey, echoing the symbol of humanism. Kapoor’s approach transcends mere artistic expression, delving into a questioning of existence itself, prompting reflection not only on the nature of objects but also on the intangible essence that pervades our world.
I am interested in what places do to work — Anish Koopor
Anselm Kiefer’s Fallen Angels ( Angeli Caduti) in Palazzo Strozzi, 22 March -21 July 2024
Another exhibition hosted at Palazzo Strozzi delves deep into the intricate connection between spatial environments and artwork through profound allegories and forms, which contemplate the interplay between matter and space, memory and the present, as well as myth and history, as depicted in Kiefer’s imaginative art. The exhibition primarily interprets a multilayered exploration of themes spanning religion, myth, literature, and philosophy, drawing inspiration from diverse cultures. This inspiration manifests in allegorical representations, figures, and forms that inquire into questions of identity, history, and musical concepts. Utilizing painting, sculpture, installation, and photography, the exhibition aims to express the intricate link between the past, present, and future.
So here, the enhancement of the space within the artwork was the main point, clearly the usage of the spatial elements was not highly appreciated as in the Untrue Unreal although the art illustrated itself with its context and meaning within the existing framework.
Rubble is like the blossom of a plant; it is the radiant highpoint of an incessant metabolism, the begging of a rebirth — Anselm Kiefer
