تحلیل پدیدارشناسی فضا بر چیدمان های مکان محور رویداد سالانه پرسبوک دهم با عنوان "دستکار" مبتی بر نظریه کریستین نوربرگ شولتز

The term "site-specific art" emerged in the late 1960s as a reaction to the growing commercialization of art and the prevailing ideals of the autonomy and universality of art. During the 1970s and 1980s, the creators of this branch of art emphasized the inseparability of the work and its context in the intersection with earth art, process art, performance art, conceptual art, installation art, community-based arts, and public art. But in recent years, the assumption of the work's irreproducibility and irreplaceability, embodied in Richard Serra's famous saying, "to remove of the work is to destroy the work", has been challenged by new location-based models and changes in institutional and market forces. These works are generally designed in very large dimensions, exclusively regarding the intended space. The concept of this type of project is the result of circulation between art and the environment, and in case of moving from the desired space, there is a possibility of losing or changing the concept of the work. In fact, the focus of this part of contemporary art is the manner of communication of the work of art with the space containing the work. Site-specific art artists will provide an audience-based artistic platform by combining form, sunlight and everything that includes the artwork."Site-specific projects, focusing on how an artwork interacts with the surrounding space and the effects that space has on the viewer's mind, respond to the contemporary human need to connect with the concept of art. The characteristic of spatial dependency, one of the most important features of "site-specific" projects, is clearly observable in some of the works presented in the 10th Persbook (the “Dastkar” project). The annual persbook projects in different cities of Iran, focusing on various cultural issues, by presenting site-specific projects, is an attempt to reduce the distance between the concept of the work, the manner of formation and presentation, as well as the role of the artist in relation to the geography and cultural background of the place of performance. The works presented in the “Dastkar" project, being installed in the space of one of the masterpieces of traditional architecture of Kashan, create a special setting for interaction and the creation of works in the context of "site-specific art," with a focus on the relationship between artistic concepts, culture, climate, and architectural structure. The present research has been carried out in qualitative manner and a descriptive-analytical method, focusing on "site-specific” installations in the project defined as "Dastkar", relying on the theory of "Christian Norberg-Schulz”. Information related to the method of library study, visual resources available on the annual website, as well as interviews conducted in the field with the curator of the 10th persbook for the "Handicraft" project and some artists participating in the project in question, to achieve the desired results are gathered based on the objective and the designed questions. The method of analyzing the works presented in this festival was qualitative. The objective is to rethink Iranian artistic traditions with an emphasis on the identity of traditional architectural structures and the region's climate. In line with the research objective, which focuses on the structure of space/place and the establishment of a relationship between the installed work and the viewer/observer in the 10th Persbook, the main research questions are posed as follows: What are the phenomenological characteristics of "site-specific" installations in the 10th Persbook? Based on Schultz's theory, how does space/place manifest in the "site-specific" installations presented in the 10th Persbook? The research findings indicate that not all the installations in the 10th Persbook embody the characteristics of a "site-specific" project as defined in contemporary art history. Among the 20 works presented in the "Dastkar" project, only eight installations, which were set up as part of a collaborative project in various spaces of "House of Sahib," as well as "Tragedy" project and "My Homeland, Ghamsar" installation, encompass all the phenomenological characteristics of a sense of place according to Schultz's theory. They include all the elements derived from the sense of place and identity of the location, and the artists have successfully established a comprehensive connection between the sense of space/place where the work is presented, the viewer/observer, and the "site-specific" works. In addition, the other installed projects lack the characteristics and elements sought in this research.