Spence Charles
Crossmodal Research Laboratory, Oxford University, Oxford, UK.
Iperception. 2022 Sep 6;13(5):20416695221120522. doi: 10.1177/20416695221120522. eCollection 2022 Sep-Oct.
In recent years, there has been something of an explosion of interest in those artworks and installations that directly foreground the bodily senses. Often referred to as proprioceptive (or prop.) art, the question to be addressed in this narrative historical review is how it should be defined, and why has it become so popular? A contrast is drawn with examples of sculpture and/or tactile art. The entertainment/experiential element of such works cannot be denied, especially in an era where funding in the arts sector is so often linked to footfall. At the same time, however, a number of the works appear to be about little more than entertainment/amusement. One might wonder why such "edutainment" should be placed in the art gallery rather than, say, in a museum of science or illusion. Nevertheless, in the best cases, the foregrounding, or removal, of bodily sensations that proprioceptive artworks deliver can potentially help to connect people in an increasingly digital, online, mostly audiovisual, and hence in some sense disembodied contemporary existence. These issues are discussed in the context of the works of Carsten Höller, a prolific German installation and object artist.
近年来，人们对那些直接突出身体感官的艺术作品和装置产生了极大的兴趣。这类作品常被称为本体感受（或简称“prop.”）艺术，在这篇叙事性历史综述中要探讨的问题是，它应如何定义，以及为何如此受欢迎？文中将其与雕塑和/或触觉艺术的例子进行了对比。这类作品的娱乐/体验元素不可否认，尤其是在一个艺术领域的资金往往与客流量挂钩的时代。然而，与此同时，许多作品似乎仅仅是关于娱乐/消遣。人们可能会问，为何这类“寓教于乐”的作品应放在艺术画廊，而不是比如说科学博物馆或错觉博物馆。尽管如此，在最佳情况下，本体感受艺术作品所带来的身体感觉的突出或消除，有可能帮助在日益数字化、在线化、大多是视听化且因此在某种意义上无实体的当代生活中把人们联系起来。这些问题将在德国多产的装置和实物艺术家卡斯滕·霍勒的作品背景下进行讨论。
