2. Installation art is an artistic whole specially designed and created by artists according to the indoor and outdoor location and space of a specific exhibition venue.
3. Just as it is impossible for a cinema to show two movies at the same time, the integrity of the equipment needs a corresponding independent space, which is not influenced and interfered by other works visually and audibly.
4. The audience's involvement and participation is an inseparable part of installation art, which is an extension of people's life experience.
5. The environment created by installation art is used to contain the audience, prompting or even forcing the audience to change from passive viewing to active feeling in a limited space. This kind of feeling requires not only positive thinking and physical intervention, but also the audience to use all the senses, including sight, hearing, touch, smell and even taste.
6. Installation art is not limited by art categories. It is free to use painting, sculpture, architecture, music, drama, poetry, prose, film, television, audio recording, video recording, photography and other available means. It can be said that installation art is an open artistic means.
7. In order to activate the audience and sometimes disturb the habitual thinking of the audience, those factors that stimulate the senses are often exaggerated, strengthened or alienated.
Generally speaking, installation art is for short-term exhibition, not for collection.
9. Installation art is a changeable art. Artists can not only change the combination during the exhibition, but also increase, decrease or reorganize when they are exhibited in different places. Installation art was recognized and developed in China in 1980s. Because Rauschenberg, a famous American pop artist, had an exhibition in China Art Museum in the 1980s. Therefore, China artists' interest in installation art was ignited. As a result, installation art has been recognized, understood, recognized and accepted by many domestic artists and people after more than ten years of exploration and practical development. Moreover, installation art, as an art form with great strength and potential in China in the early 1990s, has actively and profoundly demonstrated today's world, China and individuals. The development of installation art in China also has its internal factors. On the one hand, the overall development of contemporary international art has stimulated and promoted China artists.
On the other hand, after China's reform and opening up, the economy has developed, the living standards of Chinese people have improved, and the comprehensive national strength has been enhanced. Some aspects of social structure also show the situation of industrial or post-industrial society. Therefore, installation art has made great progress in China. In the exploration of installation art, installation artists in China have carried out in-depth excavation and performance in the aspects of current experience, cultural transfer and concept derivation. In terms of artistic form, it explores the diversified forms since the cubism of analysis, especially in post-modern art, and injects China's contemporary spirit into it for organic integration and sublimation. It can be seen that in China, where industrialization is gradually advancing, people's concept change, cultural orientation, attitude towards life and lifestyle will become more and more diversified while their materials and characteristics are becoming more and more modern and rich. Therefore, as a country entering the industrial society, the materialization of China's fine arts is no longer far away. At the same time, in the present situation and prospect of creating, pursuing and enjoying materials, comprehensive materials and installation art will surely replace the protagonist in China's exploration art more and more quickly. If so, then, when China's economy is close to Europe and America, it will first directly communicate with and compete with the world art, which will also promote the comprehensive materials and installation art, because the comprehensive materials and installation art not only have the prospect of China art development, but also have the prospect of world art development ... Installation art is an important art form in modern avant-garde art in contemporary China. The aesthetic characteristics of installation art are anti-questioning and transcendence of traditional art, which are mainly manifested as: transcendence of art and object world; Harmony of binary opposition between art and audience; Artistic activities of the trinity of artist design, self-sufficiency of works and audience participation; The interpretation of meaning transcends the fuzziness of limited life images; Social participation, reflection and criticism. Installation art is associated with the image of public life because it mostly uses daily necessities and industrial products. By questioning and surpassing the image of public life, it has gained the dual character of popularization and nobility. However, installation art also has the negative possibility of non-artistry, life and vulgarity. Ending superficiality and moving towards profundity and culture is the proper orientation of contemporary installation art in China as a conceptual art.
By the year of 20 13, the installation art in China had a breakthrough development, and compared with that in China, it had different forms of extension and development. In other words, the unique style of China has emerged, represented by wrought iron parts, giving people an unprecedented visual experience. At present, represented by Mr. Quan in the north and Mr. Wang in the south, many representative works have been published, such as Transformers series, Warcraft character series, abstract series and so on.