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Note on relational aesthetics is an essay written by Nicholas Bourriaude first published in 1992. The book looks at Felix Gonzalez-Torres and Louis Althusser, and at the work of most creative artists today. Bourruiaud proposes a new approach to how to think about the work being made by creative artists today rather then a theory.
Note on relational aesthetics is an essay written by Nicholas Bourriaude first published in 1992. The book looks at Felix Gonzalez-Torres and Louis Althusser, and at the work of most creative artists today. Bourruiaud proposes a new approach to how to think about the work being made by creative artists today rather then a theory.
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Note on relational aesthetics is an essay written by Nicholas Bourriaude first published in 1992. The book looks at Felix Gonzalez-Torres and Louis Althusser, and at the work of most creative artists today. Bourruiaud proposes a new approach to how to think about the work being made by creative artists today rather then a theory.
Copyright:
Attribution Non-Commercial (BY-NC)
Formati disponibili
Scarica in formato PDF, TXT o leggi online su Scribd
Relational Aesthetics is an essay written by Nicholas
Boruiaude first published in 1992, that proposed a new approach to contemporary art. By getting up close and personal with the reasoning and the structure of the thoughts of artists that are working today and revealing; "an aesthetic of the inter human, of the encounter; of proximity, of resisting social formatting."
The book looks at Felix Gonzalez-Torres and Louis Althusser,
Rikrit Tiravanija, and at the work of most creative artists today.
The essay is proposing a new approach to how to think about
the work being made by creative artists today rather then a theory, after thinking about the destiny of their work, based on what DuChamp wrote about any work of art needing an audience in order for it to be complete, artists are making exactly that, social events. Bourriaud writes that this is by- passing the recycled enlightenment philosophers and the work of the DaDaists, that he thought was about "..creating imaginary or utopia realities, but instead to actually be ways of living and models of action within the existing real, what ever chosen by the artist", also he used words like recycling and novelty and modernity extending it self into cultural do-it- yourself! Without going into the details Bourriaud sets about disagreeing with the ideas that defined the art work from the 50s and 60s by talking about formations instead of forms and like theorists/writers from the past that share similarities with him.
For example; Rikrit Tiravanija offers people soup at art
galleries and institutions, so what is the work? sculpture? performance? an installation? an example of social activism? Well, Bourriaude likens it to audience participation art ideas (from 50s and 60s), but that this is going beyond that "attempting to create precise boundaries for the receivers field of activity in the artwork", writing that this culture of interactivity going beyond the realms of art by this communication vehicle that has been created (meaning the space with the possibility of making soup). On the other hand, Bourriaude writes, this is happening with technology with the internet and multimedia systems.
Bouriaude goes on to describe what DuChamp said about the
relation aspect to the artistic practice, the 'rendezvous' between the work and its audience, and gives examples of works that can be seen to have been made as a result of realizing this need (work which is well known but not these reasons).
To view made note that I have made on the rest of the book click on the link below;
Bourriaude has divided is essay into segments the first being
about types. In this part Bourriaude talks about collaborating (artists making contracts with galleries, artists with other professional [actors], and artists with non-artists), and gives examples of this. Artists working using professional relations: Clienteles, and gives examples of artists/groups of artists doing such work. Artists occupying gallery spaces, and gives examples of this. Next part is space-time exchange factors in which Bourriaude again leans on what DuChamp had previously said, talks about the banter that art works produce and this being connected to there worth. The artist is therefore first and foremost making decisions that will produce different relationships as an outcome. This Bourriaude explains more by talking about the subject of an artwork, "so they are all working within what we might call the relational sphere, which is to today's art what mass production was to Pop Art and Minimal Art", also making the point of the context (financial situation of the time of work being made) being deciding factors as to which 'era' the work should look like it has come from (he talks about a pendulum). Bouriidar writes here; "Relational art is not the revival of any movement, nor is it the comeback of any style it arises from an observation of the present and from a line of thinking about the fate of artistic activity." Bourriaude writes more about the subject of an artwork using words like 'social interstice', 'life possibilities', 'alternative', and 'common sense rediscovered'. So the subject is not looking back to the 50s/60s/70s but rater continuing modernism and the subject has changed from separating to joining. Next is space-time factors in 1990s art in which Bourriaude writes that artists are bringing up for discussion Fluxes, Conceptual Art, Minimal Art, but it is only for the sake of a vocabulary, and that when these Relational Artists talk about artists from previous eras they are covering up what there work is actually about. Now to discover what creative artists are doing you must look at the time that they are creating not what they have done to space as it was in previous decades. In the next segment joint presence and availability: the theoretical urgency of Felix Gonzalez- Torres Bourriaude talks about objects being given away in these spaces that artists have created. Under the title Homosexuality as a paradigm of cohabitation Bouriade writes"...but also find common ground around the priority they give to the space of human relations in the conception and distribution of their works." "Including the other is not just a theme. It turns out to be essential to formal understanding of the work." Under Contemporary forms of the monument Biourriaude writes "the object is just a 'happy Ending’ to the exhibition process, as Philippe Parreno explains. It does represent the Logical end of the work, but an event. A Tiravaniji show, for example, does not dodge materialization, but deconstructs the methods of making the art object into a series of events, giving it a proper time frame, which is not necessarily the conventional time of the picture being looked at." In the criterion of co-existence (works and individuals) Bouriaude talks about people actually having to ask themselves if they can live in the space-time structure corresponding to it in reality? And so their are more parts to this segment and many more segments in the book such as screen relations, today’s art and its technological models, the camera and the exhibition, post VCR art, and so on...