Fujiko Nakaya’s fog performance and embodied ‘nature’

Sone, Yuji

doi:10.1080/14682761.2018.1506965

Cited by 3 publications

(3 citation statements)

References 18 publications

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“…Plastique Fantastique's site-specific installation Blurry Venice at the Venice Biennale in 2019 gave visitors the sensation of walking on a liquid surface in a tunnel while their movements change the shape of the tunnel itself (Myers, 2019 ). Fujiko Nakaya's participatory installations use fog (e.g., Nebel Leben at Haus der Kunst, 2022) that envelops visitors allowing for a sensory connection to the fog (Sone, 2019 ). Bennett ( 2019 ) described their whole body feeling floating and weightless while experiencing James Turrell's Ganzfeld installation Perfectly Clear (1991).…”

Section: Review: Characteristics Of Installation Art and Arguments Fo...mentioning

confidence: 99%

The role of the body in the experience of installation art: a case study of visitors' bodily, emotional, and transformative experiences in Tomás Saraceno's “in orbit”

2023

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Installation art, with its immersive and participatory character, has been argued to require the use and awareness of the body, which potentially constitute key parts of the artwork's experience and appreciation. Heightened body awareness is even argued to be a key to particularly profound emotional or even transformative states, which have been frequently ascribed to this genre. However, the body in the experience of installation art has rarely been empirically considered. To address this gap, we investigated the body's role in the experience of Tomás Saraceno's in orbit installation. Based on a list of self-report items created from a review of the theoretical literature, we—for the first time—captured (quantitatively and qualitatively): what kind of subjective bodily experiences visitors (N = 230) reported, how these items grouped into clusters (using network science), and how these relate to emotion, art appraisal, and transformative outcomes. Network analysis of the items determined four communities related to “interoception,” “presence,” “disturbance,” and “proprioception.” Proprioception (e.g., awareness of balance/movement/weight) turned out to be a significant determinant of art appreciation in our study, and, together with “disturbing” body experiences (feeling awkward/watched/chills), coincided with transformation. We also assessed individual differences in body awareness yet did not find that these moderate those relationships. We suggest future research on installation art based on a more unified assessment of the role of the body in embodied-enactive aesthetics and its relation to the intensity and impact of art experience in general.

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Section: Review: Characteristics Of Installation Art and Arguments Fo...mentioning

confidence: 99%

The role of the body in the experience of installation art: a case study of visitors' bodily, emotional, and transformative experiences in Tomás Saraceno's “in orbit”

2023

View full text Add to dashboard Cite

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“…Plastique Fantastique's site-specific installation Blurry Venice at the Venice Biennale in 2019 gave visitors the sensation of walking on a liquid surface in a tunnel while their movements change the shape of the tunnel itself (Myers, 2019). Fujiko Nakaya's participatory installations use fog (e.g., Nebel Leben at Haus der Kunst, 2022) that envelop visitors allowing for a sensory connection to the fog (Sone, 2019). Bennett (2019) described their whole body feeling floating and weightless while experiencing James Turrell's Ganzfeld installation Perfectly Clear (1991).…”

Section: General Arguments For How Installation Art Anticipates the Bodymentioning

confidence: 99%

The Role of the Body in the Experience of Installation Art: A Case Study of Visitors’ Bodily, Emotional, and Transformative Experience in Tomás Saraceno’s “in orbit”

Kühnapfel¹,

Fingerhut²,

Pelowski³

2023

Preprint

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Installation art, with its immersive and participatory character, has been argued to evoke and require the use and awareness of the body, which potentially constitute key parts of the artwork’s experience and appreciation. Heightened body awareness is even argued to be a key to particularly profound emotional or even transformative states, which have been frequently ascribed to this genre. However, the role of the body in the experience of installation art has rarely been empirically considered. To address this gap, we investigated the body’s role in the experience of Tomás Saraceno’s “in orbit” installation. Based on a list of self-report items created from a review of the theoretical and anecdotal literature, we—for the first time—captured (quantitatively and qualitatively): what kind of subjective bodily experiences visitors (N = 222) reported, how these items grouped into clusters (using network science), and how these relate to emotion, art appraisal, and transformative outcomes. Network analysis of the items determined four communities related to ‘interoception,’ ‘presence,’ ‘disturbance,’ and ‘proprioception,’ with the latter (awareness of balance/movement/weight) turning out to be a significant determinant of art appreciation in our study, and together with ‘disturbing’ body experiences (feeling awkward/watched/chills) coincided with transformation. We also assessed individual differences in body awareness yet did not find that these moderate those relationships. We suggest future research on installation art based on a more unified assessment of the role of the body in embodied-enactive aesthetics and its relation to the intensity and impact of art experience in general.

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“…Like the substantial contribution to eco‐aesthetics of Janet Laurence which spans decades, Fujiko Nakaya has also dedicated her entire artistic practice to eco‐aesthetics, specifically studies of fog. Nakaya has contributed significantly to eco‐aesthetics of art and fog since the early 1970s, when she first engineered her now signature water vapour experiential installations (Sone 2019).…”

Section: Immersive Misting Towards Ecological Sensitivity With Fujiko...mentioning

confidence: 99%

Misty Bodies of Water and Artistic Relationality in the Hydrocene

Bailey‐Charteris

2023

Oceania

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The Hydrocene is the watery, disruptive, conceptual epoch that I name for the tide of art going into the blue in response to the climate crisis. In this short watery provocation and essay, I share the potential significance of ‘misting’ as a hydro‐artistic method of reorientation from within fog, where fog becomes a portal towards embodied encounters in art practices. I look to the extensive fog‐based work of Japanese artist Fujiko Nakaya alongside Australian artists Emily Parsons‐Lord's misty installation Things fall apart (2017) and Janet Laurence's hazy site‐specific public work In the Shadow (2000) as examples of misting. I relate the artists' pieces to theorist Ifor Duncan's concept of ‘Occult Meteorology’ and Janine Randerson's notion of ‘Weather as Medium’, and further propose misting as a hydro‐artistic method in the Hydrocene. The potential of artistic relationality between misty bodies of water in contemporary eco‐critical art practices opens up possibilities of engaging indeterminate watery futures.

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Fujiko Nakaya’s fog performance and embodied ‘nature’

Cited by 3 publications

References 18 publications

The role of the body in the experience of installation art: a case study of visitors' bodily, emotional, and transformative experiences in Tomás Saraceno's “in orbit”

The role of the body in the experience of installation art: a case study of visitors' bodily, emotional, and transformative experiences in Tomás Saraceno's “in orbit”

The Role of the Body in the Experience of Installation Art: A Case Study of Visitors’ Bodily, Emotional, and Transformative Experience in Tomás Saraceno’s “in orbit”

Misty Bodies of Water and Artistic Relationality in the Hydrocene

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