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In 2002 internationally established installation artists, Artstation and Welsh filmmaker, Wyn Mason, collaborated on an artist placement within a Brussels asylum seeker reception centre, Le Petit Chateau. The resulting Paperwork exhibition at The Old Library, Cardiff, included a looped, twin-screen video projection. Collaborating with Artstation, whose art practice is heavily influenced by cybernetics, led Wyn to adopt a radically different filmmaking approach to that of traditional film and TV practices. The result is a hybridised film that is drama and documentary, cinema and art video, and a film that was designed to address the high level cultural-political arena of Cardiff's bid to become European Capital of Culture 2008. Now re-edited as a linear piece, Paperwork is being represented as a 10-minute short work for film festival audiences. The article tracks the production process, showing how cybernetic method impacted on conventional film and TV practices. [ABSTRACT FROM AUTHOR]

British artist Barbara Walker makes drawings of people. She makes drawings of people using charcoal and a soft pencil. She makes drawings of men and women; huge, larger than life, floor to ceiling drawings rendered directly onto the wall. Each fold, crease, line, and blemish of her sitters’ bodies and the clothes that enfold them are sensitively transcribed in the smallest of detail. But we never see her sitters’ faces. And each wall is wiped clean at the end of every show. It is impossible to view Walker’s work without first being astonished by the sheer scale and by the craftsmanship, by the quality of lines seemingly etched into the wall, or the paper, or the canvas, creating a three-dimensional, almost sculptural effect. It comes as no surprise that she sites Giacometti and Rodin as amongst her influences. Yet these soft charcoal and pastel drawings are deeply political. In Walker’s hand the methodical making of lines on a wall and the erasing of them is a form of quiet activism. The article published here features drawings from the 2015 exhibition Sub Urban staged at the James Hockey Gallery, Farnham, Surrey, in which Walker examined contemporary stereotypes through the study of the dress codes and fashions adopted by young women. [ABSTRACT FROM AUTHOR]

This paper takes as its starting point the forcible closure of an art exhibit at the 2015 Venice Biennale in order to illustrate wider dynamics of rising Islamophobia across Europe today. THE MOSQUE was the Icelandic national contribution to the Biennale, an exhibit that lasted only two weeks before being shut down by the local authorities for ‘public safety reasons’. Presented in its press release as ‘merely a visual analog’ of a mosque, the installation was made ‘real’ as the Venetian Islamic community began using it as a site for gathering and prayers, an all-too-real performance that sparked protests and brought the installation’s closure. The fate of THE MOSQUE is a compelling story that speaks to a series of broader struggles over visibility and invisibility, and over who and what has the right to appear in the landscape of a European city. It speaks to the phantom menace of a fetishized Islam that is haunting Europe today, as nativist and anti-immigrant movements mobilize against perceived threats to imagined urban orders. [ABSTRACT FROM PUBLISHER]

Blurring the lines between public and private language by displaying a series of hand-written letters and envelopes sent through the mail, Susan Jahoda’sFlight Patternsquestions if the demarcation between public and private language is ever really possible. As a matter of central importance to studies of performance and rhetoric, ultimately, Jahoda suggests that performances of the self are constructed by language that is unavoidably, and simultaneously, public and private. The act ofaddressingis a rhetorical performance, or a performance of rhetoric, for the ways in which language both demarcates and blurs the boundaries of self and other. [ABSTRACT FROM PUBLISHER]

The article reviews the art installation "Shield," featured by visual artist Gülsün Karamustafa at her 2016 art exhibition "Chronographia" that was held in Berlin, Germany.

The article reviews the exhibition the Venice Biennale 2017 Viva Arte Viva in Venice, Italy from May 13 to November 26, 2017, featuring digital work and art installation by Vajiko Chachkhiani and Phyllida Barlow.

The article discusses the traveling art exhibition and catalog "Hélio Oiticica: To Organize Delirium," which was held in 2016 and 2017 at locations including the Carnegie Museum of Art in Pittsburgh, Pennsylvania, the Art Institute of Chicago in Chicago, Illinois, and the Whitney Museum of American Art in New York City. The catalog features texts by authors including Lynn Zelevansky, Elisabeth Sussman, James Rondeau, Donna De Salvo, Adele Nelson, Guilherme Wisnik, Martha Scott Burton, Anna Katherine Brodbeck, Max Jorge Hinderer Cruz, Frederico Coelho, Sergio B. Martins, and Irene V. Small.

The article reviews the "FLESH (Six Sculptures)" film & video installations exhibition by artist Georgina Starr at the Royal Academy of Arts in London, England in 2008.

The article reviews an art exhibition displaying the works of artist Kader Attia including photography, sculpture and installation art, held at the Australian Centre for Contemporary Art in Melbourne, Victoria on September 30–November 19, 2017.

The article discusses time theories in media or contemporary performance exhibitions. It notes the major contradictions of art history and work of art exposed by time- and performance-based media installation exhibitions. Also stressed is the understanding on art history through combined performance with mixed-media installations.

A problem facing many custodians and curators of historic buildings is how to create a sense of history and awaken a connection with the past for contemporary visitors. With the help of secondary material such as video projections, audio guides and costumed interpreters, visitors are enabled to imagine what life might have been like before the building was 'museumified'. This article discusses Peter Greenaway's video installation Peopling the Palaces, created for a seventeenth-century Italian Palace in Turin, and examines its potential as a means of returning 'life' to preserved historic interiors. Greenaway's installation is a prime example of how projecting characters directly onto walls and ceilings can bring a building to life and envelope the visitor within an historical imaginary. The article proposes that this fascinating meeting of theatre, technology and museology within a historic Palace offers exciting potential for augmenting the visitor experience of heritage sites. [ABSTRACT FROM AUTHOR]

This article describes the authors' work as formative evaluators of a mixed-reality science museum installation, Journey with Sea Creatures. Looking beyond the focal point of the screen to the spatial and temporal surroundings of the exhibit, the authors employed a technique they call retrospective narrative mapping in conjunction with sustained on-site observations, follow-up interviews with museum visitors, and the development of personas to better understand the user experience in multimodal informal learning environments. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "Bound for Glory," at the National University of Singapore Museum in Singapore from September 11 to November 23, 2008.

The article reviews the exhibition of Pipilotti Rist entitled "Gravity, be my friend" in Stockholm, Sweden from February 10 to June 17, 2007.

The article focuses on the relationship between art and the unseen. It explains that in order to execute works of art, the artist must physically turn away from the subject to the representation of the object. The experience of blindness in contemporary art is explored in examples such as video art which project black screens. Art installations by Gonzalo Diaz, Terence Koh, and Bruce Nauman are examined for their ability to interact with the physiology of the audience.

In a review of the responses to British artist Tracey Emin's exhibition of her own bed as an artwork nominated for the 1999 Turner Prize, Merck considers it as a figure of the personal trauma said to be constitutive of subjectivity in the decade. Reviewing theorists of the period including Hal Foster, Marc Augé and Wendy Brown, she considers the artist's work as an illustration of individual isolation assuaged by narcissism. Must the woman artist function as the victim of her own cult of celebrity? In the ensuing months since her nomination, Emin's changing circumstances suggest that other fates- and other histories- may be possible. [ABSTRACT FROM AUTHOR]

The article profiles the art scene in Hong Kong, China, which began in the 1980s and focused on local identity. The impact of the handover of Hong Kong from British rule to Chinese rule is addressed. The Para/Site gallery in Hong Kong is discussed as a gallery which focuses on the work of these artists. Installations and photography of Hong Kong artists including Kith Tsang, Sara Wong, and Warren Leung that appeared there are addressed.

Comments on `Semar farts,' an installation art created by Indonesian artist Heri Dono and exhibited in Auckland, New Zealand. Dono's reputation for taking traditional images and ideas from his native culture and transporting them into the aesthetic singularity of the contemporary world art market; Intent to remove the taboo from flatulence, whether human or divine.

The article presents a discussion on Everlyn Nicodemus, an installation artist. The article focuses specifically on three installations that she made between 1984 and 1986 which were eventually titled as “Woman in the World”: Skive, Denmark; Dar el Salaam, Tanzania; and Calcutta, India. The installations included poetry in conjunction with images.

The article describes the life and artwork of artist Francis Alÿs. Alÿs, originally from Belgium, works in Mexico where he creates paintings, sculptures and performance art. Alÿs sometimes uses sign painters to execute his designs. He exhibited an installation in the Galeria l'Escaut in Brussels, Belgium, in 1992.