DOI: 10.5593/SGEMSOCIAL2016/HB41/S05.019


M. Simkovicova
Wednesday 30 November 2016 by Libadmin2016

References: 3rd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2016, www.sgemsocial.org , SGEM2016 Conference Proceedings, ISBN 978-619-7105-53-7 / ISSN 2367-5659, Apr 06-09, Book 4, Vol.1, 145-152 pp, DOI: 10.5593/SGEMSOCIAL2016/HB41/S05.019

Aim of this paper is to explore intersections of lens-based art, memory studies and projection as anartistic practice. It senses a potential in the developing field of projectivist artistic practice which can be reflected on premises of language and human sciences.
At the core of this research in progress, the word projection stands for a description ofmental practice. In this part, the research is based on recent literature in the field. The research then analyses etymological backgrounds of related keywords in English, German and Slovak. The meaning of the same word in three mentioned languages may differ; these gaps inbetween are identified as spaces for interpretations of works of art.
The art pieces considered in the research are of international background from the past 20 years. The main focus lies within artists connected to the former Habsburg region. This selection should explore the way identity and memory are connected in a specific geographic construction. Besides dealing with projection, the strategies of the selected artists overlap with locative media, installation art, public art and cartographical practices.
The paper concludes that due to changes of paradigm of recent years as well as to technical development, the image has become more performative in terms of production and display as well as of the involvement of the spectator. Based upon this premise, it opens up a discussion on production of new frames of perception of projection-based artworks.

Keywords: projection, lens-based art, installation, site-specific, memory

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