Abstract :
Spatial bodies which are linked to rules and principles in classical semantics, have been started to fragmentize after technical, ideational and scientific examinations and reconstruct from the eyes of the artist. This period has been concluded by the eviction of the canvas from being an illusion area and perception as a surface and in time, removal of figure from the painting “as a form of beings”. The aesthetic relation between the subject and the object has been examined in a manner which is estranged from modern idealism. On the other hand, in terms of the design, space and object have come to the state where again the subject (artist) constructs. At the same time, the subject (artist / viewer) perception is affected and the recognized matter changes the prejudices in the mind. Meanwhile the existence of space and the hosted object have become relative. In today’s art, the real space is seen as the action area and the real object as the tool (purpose). In accordance with this view, the socio-political projects which are offered in public sphere are interacted with viewers. Moreover, the viewer is occasionally in the center of the composition. The mass production focused understandings of the 1960’s have pushed the artists to watch the same way but totally opposite purposes. The basis of productions is to have formations that have effect on consciousness and stimulating the awareness of the viewers. In other words, rather than being didactic and distant, the absolute perception of the viewer is diffracted with the designed project. By this way, the real space can be examined by the viewers and occasionally be formed by themselves. This open attitude pushes the viewers, which are blinded by mass communication tools and trapped into their secure spaces or identities, to get in contact with the current location and other bodies, bringing a new aesthetic understanding to the agenda.
NaturalLanguageKeyword :
Space , memory , perception , viewer , object , reality
