summary enchantment

Kurt Schwitter began a new example of an enchantment-type in the 20^th century during 1919-1937 and he built this in his home. By watching this kind of art works, viewers can watch them very close and feel like inside the art works.

The enchantment-type installation can be defined as its name, it has the magic to attract people’s attention and people can really feel the work. For example, when people walk into a large cathedral, the installation can transport its viewer into a state of awe and serious. Moreover , some kind of transformation might even occur whereby the visitor is converted, as it were, to the vision of the creator. 

In the enchanted space, many artists like to use unusual physical possibilities to enhance viewers visions because they can envelope the viewer very completely. For example, like Kabakov said, we can imaging that the ceiling and floor as the sky and the earth. The 1920s is a very important time for the installation work. During that period, there are many things happened, the most important was that the installation was a violently anti-aesthetic statement, with individual works serving a larger purpose.

 In 1955, just after the world war 2, the next great example of an enchantment, though not found in an art context but could be said to be the Disneyland opened in California. It should be the single most significant and influential force in shaping a large American public's expectations about similar experiences. Enchanment format is particularly the province of nomadic, local artist who enjoy international citizenship at massive biennale type exhibition.