Memory and place through artistic perceptions

Abstract

This article explores 6 sets of contemporary artworks by each of 5 individual artists and a group of 3 artists focusing on the meaning of place and the imprint of memory in their works. The methods include the study of the materials, the surrounding arrangement, the interactions between the audience and the artworks, the expression of relational art and the environments, and the management of landscape which relates to historical, social and/or geographic conditions. Research results revealed two sorts of artistic perceptions. The first one is the visual perception found in Ralf Tooten’s Bangkok Noir, Joseph Beuys’ I like America and America likes me, and Chiharu Shiota’s Congregation. Positioned as an observer, the audience can only see and feel, but cannot interact with the artworks. The second one is a multisensory perception found in Ann Hamilton’s Again, Still, Yet, Rirkrit Tiravanija’ Untitled 1990 (Pad Thai) and Sun & Sea (Marina) by a group of 3 Lithuanian artists - Rugilė Barzdžiukaitė, Vaiva Grainytė and Lina Lapelytė. These artworks need to be perceived through several sensory channels together which leads to an understanding of associated meanings. Via artistic elements and artistic placement, the audience can feel and interact with the artistic space and become a part of the whole art piece.