Characteristic of art after 1960 is the pushing the limits not only of its media (those conventionally defined as painting and sculpture in the 19th century, that is during the time that public art museums in Europe were established) but also of the places and contexts in which art is made and received. The institutional critique of art (institutional critique of the 1970s) led to a redefinition of the relationship between art and its presentation context.Â New genres such as performance, installation art, interventionist actions, appropriation art, relational aesthetics are no longer confined to institutionalized spaces aiming at presenting art, but they constitute historical benchmarks of how to show art outside the museum.
At the same time, the opening of the architecture in different scientific fields defines the contemporary architect, who, now expelled from the building site, acts as a scholar, who by analogy with the visual artist, demonstrates the ability to process theoretical cross-disciplinary issues. Such an exemplified case of how the scope of art has been widened is the conceptualization of theÂ public space as the novel “museum without walls.”Â Typical cases of such a development are cities such asÂ Venice, Kassel and MÃ¼nster,Â where during major international art events (Biennale di Venezia, Documenta, Projekt Skulptur MÃ¼nster) are transformed every two, five or ten years each in real public workshops of artistic creation, interpretation and reception of art, which reaches all aspects of social life.
Dr. Sotirios Bahtsetzis (author, curator, art theorist – ArtBOX.gr)