Liana Psarologaki
Land scape
CONTEMPORARY ART REVIEW
the consumers who actively mediate their own experience and that of others by becoming space. The maker’ s role as – if I may – a more trained consumer will continue to manifest in the nature and articulation of the artistic language used in the work. The authoritarian status quo however of an artist who deliberately stages and dictates the output but is not there to consume has faded away. I consider myself the first consumer of my work but I refrain myself from becoming presumptive when doing so.
The ethereal quality that marks out the architectural elements of Cryptopology provides the viewers with an immersive experience: how do you see the relationship between public sphere and the role of art in public space? In particular, how much do you consider the immersive nature of the viewing experience in your process?
It has become apparent – and to follow Peter Osborne’ s observations – that artistic endeavour does not rely upon institutionalised spaces that facilitate it as such; in other words, a( public) site does not need to be a gallery per se to become a vessel for art. Immersion as I perceive does not happen in a sterilised environment one is captivated into by the maker but on the contrary, an intimate empirical journey of spatial encapsulation through thresholds, distractions, and emotional transitions in real space and real time. Having said that, it is important to distinguish the‘ viewing’ experience from the‘ reading’ of work that may not be necessarily visual. The era when art is not anymore so much about looking started when Yves Klein created The Void