Fourteenth International Conference on the Arts in Society

Abstract

The installation is a modality of contemporary art emerged in the sixties within the American minimalism. As a location practice, the installation inhabits / uses space in order to generate perceptive and cognitive experiences that reveal the role of the viewer as a transforming agent of space and its meaning. In the same way, the installation breaks with the autonomy of the work to become a social entity, open and participatory, which highlights its democratic condition. The first antecedents of the installation (art) in Chile appear in the late sixties in the light of political contingency and experimental searches. In this context, the socialist government of Salvador Allende (1970-1973) assumes his mandate, highlighting the importance of art as a tool of emancipation and transformation. A tool that seeks to form active and critical subjects of their own reality. This paper is part of my doctoral research in progress whose theme is installation (art) in Chile, origin and development 1969-2014. From the analysis of two case studies, the aim is to investigate the antecedents of this practice based on the question: How did the historical, political and cultural context influence the emergence of the installation (art) in Chile? Through a methodology focused on critical analysis, written documents and images seek to describe, interpret and understand how political contingency and experimental practices influenced the emergence of the installation (art) in the country.