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