Venice Bienalle (intervention)MADe (Meta Art Devices), 2009-2013

Meta-Art Devices

During the Venice Biennale of 2009, 2011 and 2013, devices called “MADe” – “interaction keys” – were made for small interventions under some of the works of various artists of these Biennials. These interventions were photographed documenting the first expression of an experiment (still rudimentary) under the concept of meta-works of art – that is works of art intended for the interaction with other works of art.

Using Duchamp’s not so well-recognized but still grand idea that “art is a game among all artists of all eras” there was an experiment (still to be highly evolved) in the field of interaction between works of art and between artists creating a line of interaction, a bridge and a window between the hermetic worlds of contemporary artists. This communicating window that was created by the avant-garde movements, during the last century represented most of the times by their physical, aesthetic and philosophical proximity, often expressed by manifestos, would now be done in another way. Finding hidden messages and “easter eggs” within works of art revealed only by another work of art of interaction (which functions as a kind of key) creates here a new spectrum of interaction between works of art, the artists and the public, that becomes participative not only in the signification process but somehow in the processo of construction of the work and it’s myriads of significations.

The work of art as a device for interaction with other works of art is an absolutely important path in the Game of Contemporary Art and should have its place in the field of research and experiment. Performance has opened up this field of more direct interaction by putting the consciousness of the viewer as a substance of art; however, the essential concern for becoming tangible in objects has always been a defining element of most artistic practices – we must not, therefore, believe that the contemporary is linked only to concept and process, in a forced need of art to become essentially invisible (not only to the eyes, but to all the senses). In fact, this is one of its essential pursuits, but the creation of “new objects” – with new meanings and new functions – also remains one of the pursuits of Art. Here is the principle of a field for the development of research and experience .

  • This experimental project was supported by artists Marcelo Noah and Carolina Manica
Intervention & Photography