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Permanent link (DOI): https://doi.org/10.7939/R3MK9Q

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Preventing Predictions: The Political Possibilities of Play and Aesthetics in Contemporary Installation Art and Works by Carsten Höller and Gabriel Orozco Open Access

Descriptions

Other title
Subject/Keyword
Carsten Höller
Relational Aesthetics
Gabriel Orozco
Art History
Politics
Tate Modern
Nicolas Bourriaud
Johan Huizinga
Installation Art
Play
Contemporary Art
Jacques Rancière
Participation
Type of item
Thesis
Degree grantor
University of Alberta
Author or creator
Mallett, Samantha Josephine Judina
Supervisor and department
Harris, Steven (Art and Design)
Examining committee member and department
Zivkovic, Marko (Anthropology)
Boetzkes, Amanda (Art and Design)
Department
Department of Art and Design
Specialization

Date accepted
2010-09-22T14:39:57Z
Graduation date
2012-11
Degree
Master of Arts
Degree level
Master's
Abstract
This thesis analyzes contemporary participatory installation art, play theory, especially Johan Huizinga’s seminal Homo Ludens, and the aesthetic theories of Nicolas Bourriaud’s Relational Aesthetics and Jacques Rancière’s Politics of Aesthetics. Ping Pond Table 1998 by Gabriel Orozco and Test Site 2006 by Cartsen Höller are studied to illustrate how play and the aesthetic can become political by repositioning the contemporary ‘viewer’ as an active and playing participant in the artwork, prompting an awareness of the matrix of power between audience, artwork and institution, and by creating the possibility for dynamic social roles. This thesis, like the artworks it examines, invokes a conception of play as a vital construct of culture rather than simply the domain of childhood imagination. Overturning the dominant concept of play and reinstating play in adult life becomes a political act because it engages adults in liberated, creative thinking that challenges traditional, consumer-driven, practical and thus ‘constructive’ behaviours.
Language
English
DOI
doi:10.7939/R3MK9Q
Rights
Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission.
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File title: Chapter 1: Installation Art and Participation
File author: Samantha
Page count: 154
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