This paper focuses on installation art and its potential to employ and elaborate psychological concepts. As Claire Bishop argues, installation art has a psychologically absorptive character because it activates and immerses the viewing subject. To analyze this immersive experience, she refers to Maurice Merleau-Ponty and the premise that subject and object are intertwined and reciprocally interdependent. In this paper I refer to these registers of artistic perception in order to explore the concept of ‘excursive object’, which was introduced by the contemporary artist and theorist Peter Tzanev in a site-specific installation (Credo Bonum Gallery, Sofia, 2018). It refers to both Elizabeth Helsinger’s term ‘excursive sight’ and to Michel Foucault’s notion of ‘discursive object’. Whereas the latter is a discursive textual formation, which consists of apparent internal relations inside a statement, the excursive object of art emerges as a less perceivable configuration of elements. It does not result in a clear perceptual experience and reflects the unstable phenomenological interdependence of subject and object. Thus, Tzanev’s novel excursive objects depart from the usual modes of perception. His concept reveals the viewer’s particular experience of unstable configurations of elements in installation art. Furthermore, it could be explored as a resourceful term to describe perceptive situations in the psychology of contemporary art.

中文翻译：

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装置艺术与心理概念的阐述：术语“漫游”的定义

本文侧重于装置艺术及其运用和阐述心理学概念的潜力。正如 Claire Bishop 所说，装置艺术具有心理吸收特性，因为它激活并沉浸于观看对象。为了分析这种身临其境的体验，她提到了莫里斯·梅洛-庞蒂 (Maurice Merleau-Ponty) 以及主体和客体相互交织、相互依存的前提。在本文中，我参考了这些艺术感知记录，以探索当代艺术家和理论家 Peter Tzanev 在一个特定地点的装置（Credo Bonum 画廊，索非亚，2018 年）中引入的“漂移对象”的概念。它指的是伊丽莎白赫尔辛格的术语“漫游视线”和米歇尔福柯的“话语对象”概念。而后者是一种散漫的文本结构，由陈述中明显的内部关系组成，艺术的漫游对象以元素的不易察觉的配置出现。它不会导致清晰的感性体验，反映出主体和客体不稳定的现象学相互依存。因此，Tzanev 的小说漫游对象背离了通常的感知模式。他的概念揭示了观众对装置艺术中元素不稳定配置的特殊体验。此外，它可以被探索为一个足智多谋的术语来描述当代艺术心理学中的感知情况。它不会导致清晰的感性体验，反映出主体和客体不稳定的现象学相互依存。因此，Tzanev 的小说漫游对象背离了通常的感知模式。他的概念揭示了观众对装置艺术中元素不稳定配置的特殊体验。此外，它可以被探索为一个足智多谋的术语来描述当代艺术心理学中的感知情况。它不会导致清晰的感性体验，反映出主体和客体不稳定的现象学相互依存。因此，Tzanev 的小说漫游对象背离了通常的感知模式。他的概念揭示了观众对装置艺术中元素不稳定配置的特殊体验。此外，它可以被探索为一个足智多谋的术语来描述当代艺术心理学中的感知情况。