Create an "intervention" with augmented reality. Works should be subversive in nature. Possibilities are works which question the nature of public and private space, works which expose something unseen or not obvious about a place, object or person that is unknown.
Art intervention is an interaction with a previously existing artwork, audience, venue/space or situation. It has the auspice of conceptual art and is commonly a form of performance art. It is associated with the Viennese Actionists, the Dada movement and Neo-Dadaists. It has also been made much use of by the Stuckists to affect perceptions of other artwork which they oppose, and as a protest against an existing intervention.
Intervention can also refer to art which enters a situation outside the art world in an attempt to change the existing conditions there. For example, intervention art may attempt to change economic or political situations, or may attempt to make people aware of a condition that they previously had no knowledge of. Since these goals mean that intervention art necessarily addresses and engages with the public, some artists call their work "public interventions."
Although intervention by its very nature carries an implication of subversion, it is now accepted as a legitimate form of art and is often carried out with the endorsement of those in positions of authority over the artwork, audience or venue/space to be intervened in. However, unendorsed (i.e. illicit) interventions are common and lead to debate as to the distinction between art and vandalism.[1] By definition it is a challenge, or at the very least a comment, related to the earlier work or the theme of that work, or to the expectations of a particular audience, and more likely to fulfil that function to its full potential when it is unilateral, although in these instances, it is almost certain that it will be viewed by authorities as unwelcome, if not vandalism, and not art.
The black sheep, 1994[edit]
In 1994, Damien Hirst curated the show, Some Went Mad, Some Ran Away, at the Serpentine Gallery in London, where he exhibited Away from the Flock (a sheep in a tank). An artist poured black ink into it, and was subsequently prosecuted, at Hirst's wish. The artist's defence was that he thought Hirst would benefit from the publicity and one critic (Tony Parsons) said the artist's action proved that what Damien Hirst does is art. The exhibit was restored at a cost of £1000.
Graffiti artists are known vandals and can also be known as "interventionists".
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