Intervention, in art, is a polysemic term, which depending on the context has different meanings:
artistic intervention
It is the addition of content (functional and aesthetic) to a previous work of art, either to complete it (because it is unfinished) or to modify it with a new criterion. It is a constant especially in architecture, whose buildings can be under construction for long periods of time, for example: the completion of a Romanesque cathedral in Gothic style, the finishing of the Florence cathedral with Brunelleschi's Renaissance dome, the successive modifications of St. Peter's Basilica in Rome, those of the Louvre Palace in Paris, or the construction of the Expiatory Temple of the Sagrada Familia in Barcelona; It has been a historical constant that the most daring interventions, those that radically change the appearance of buildings, especially those considered emblematic, have been controversial among their contemporaries.[1].
Interventions also occur in painting or sculpture: the modification of Michelangelo's The Last Judgment by Daniele da Volterra il Braghettone; or other mutilations or substitutions of faces or body parts of figures that are produced by moral or political criteria (damnatio memoriae). On many occasions, the intervention on a finished work is carried out by its author himself, with different criteria (the works of William Turner and other English painters of the late 18th and early 19th centuries are famous during the varnishing days that preceded the academic exhibitions). If they are made during the same creation process, they are called pentimenti (regrets).[2].
Intervention as an original and differentiated artistic action on a space
It is an original and differentiated artistic action, which modifies one or more of the properties of a space, which becomes an artistic space") by the simple fact that an artist decides to develop his activity on it. Its condition as a work of art is not evident in a material sense, since most of the time these interventions are by their very nature ephemeral art, not intended to last, but rather to be dismantled after a short time, and their material remains do not have the status of works of art, but of material of Paradoxically, this ephemeral destiny is shared by some works of contemporary art destined to endure, at least in the will of their creator, whose peculiar appearance has produced , when they are taken by someone as simple garbage or recycling material, conditions with which they have no material difference. Very usually there is no social consensus on the artistic status of an intervention, especially when it is done spontaneously or is not subject to official permits or regulations, which can be considered vandalism or vandalism. hooliganism as there is no material difference with those concepts (, street art).[3].
Ephemeral interventions
Introduction
Intervention, in art, is a polysemic term, which depending on the context has different meanings:
artistic intervention
It is the addition of content (functional and aesthetic) to a previous work of art, either to complete it (because it is unfinished) or to modify it with a new criterion. It is a constant especially in architecture, whose buildings can be under construction for long periods of time, for example: the completion of a Romanesque cathedral in Gothic style, the finishing of the Florence cathedral with Brunelleschi's Renaissance dome, the successive modifications of St. Peter's Basilica in Rome, those of the Louvre Palace in Paris, or the construction of the Expiatory Temple of the Sagrada Familia in Barcelona; It has been a historical constant that the most daring interventions, those that radically change the appearance of buildings, especially those considered emblematic, have been controversial among their contemporaries.[1].
Interventions also occur in painting or sculpture: the modification of Michelangelo's The Last Judgment by Daniele da Volterra il Braghettone; or other mutilations or substitutions of faces or body parts of figures that are produced by moral or political criteria (damnatio memoriae). On many occasions, the intervention on a finished work is carried out by its author himself, with different criteria (the works of William Turner and other English painters of the late 18th and early 19th centuries are famous during the varnishing days that preceded the academic exhibitions). If they are made during the same creation process, they are called pentimenti (regrets).[2].
Intervention as an original and differentiated artistic action on a space
It is an original and differentiated artistic action, which modifies one or more of the properties of a space, which becomes an artistic space") by the simple fact that an artist decides to develop his activity on it. Its condition as a is not evident in a material sense, since most of the time these interventions are by their very nature ephemeral art, not intended to last, but rather to be dismantled after a short time, and their material remains do not have the status of works of art, but of material of Paradoxically, this ephemeral destiny is shared by some works of contemporary art destined to endure, at least in the will of their creator, whose peculiar appearance has produced , when they are taken by someone as simple garbage or recycling material, conditions with which they have no material difference. Very usually there is no social consensus on the artistic status of an intervention, especially when it is done spontaneously or is not subject to official permits or regulations, which can be considered vandalism or vandalism. hooliganism as there is no material difference with those concepts (, street art).[3].
accidents
graffiti
Interventions as an artistic action usually consist of the physical occupation of part of the public space by objects arranged in a certain place by an artist, the use of a certain part of a museum for an "unconventional" purpose, or other actions that are impossible to classify, because there is no limit to the modality of an intervention other than the imagination of the artist. The term "intervention" is a word in continuous evolution, and depending on the branch of art, the will of the artist or the work itself, it acquires different meanings. Currently it is more of a descriptive word for a work, than a categorization in which works with common characteristics can be clearly located. The controversy that usually accompanies the interventions is considered by artists as part of the artistic result they seek, as a provocation"), and provokes reflection on the limits of art itself and its relationship with institutions and
the art market, as well as with the same concepts of market, power and society.
The artistic avant-gardes after the First World War (1918), especially Dadaism and Surrealism, were characterized by unconventional artistic activities that can be characterized as installations, such as the collection of everyday objects to be exhibited as museum pieces and the use of regular museum pieces as mere support for artistic activity (Marcel Duchamp);[4] or the occupation of spaces to carry out extravagant activities, of which the happenings of mid century.
Since the end of the century, with the frequent use of that name, Christo's interventions achieved enormous media impact (covering entire islands in pink, the Pont Neuf in Paris, the Reichstag Building in Berlin).
Interventions as an artistic action usually consist of the physical occupation of part of the public space by objects arranged in a certain place by an artist, the use of a certain part of a museum for an "unconventional" purpose, or other actions that are impossible to classify, because there is no limit to the modality of an intervention other than the imagination of the artist. The term "intervention" is a word in continuous evolution, and depending on the branch of art, the will of the artist or the work itself, it acquires different meanings. Currently it is more of a descriptive word for a work, than a categorization in which works with common characteristics can be clearly located. The controversy that usually accompanies the interventions is considered by artists as part of the artistic result they seek, as a provocation"), and provokes reflection on the limits of art itself and its relationship with institutions and
the art market, as well as with the same concepts of market, power and society.
The artistic avant-gardes after the First World War (1918), especially Dadaism and Surrealism, were characterized by unconventional artistic activities that can be characterized as installations, such as the collection of everyday objects to be exhibited as museum pieces and the use of regular museum pieces as mere support for artistic activity (Marcel Duchamp);[4] or the occupation of spaces to carry out extravagant activities, of which the happenings of mid century.
Since the end of the century, with the frequent use of that name, Christo's interventions achieved enormous media impact (covering entire islands in pink, the Pont Neuf in Paris, the Reichstag Building in Berlin).