W urs. Nicolas Bourriaud. Relational Aesthetics. Translated by Simon Pleasance & Fronza Woods with the participation of Mathieu Copeland les presses du rée!. From Relational Aesthetics - Nicolas Bourriaud (). Relational form. Artistic activity is a game, whose forms, patterns and functions develop and evolve. Relational Aesthetics - Nicolas berciachalomud.tk - Download as PDF File .pdf), Text File .txt) or read online.

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    Relational Aesthetics Pdf

    Download as PDF, TXT or read online from Scribd. Flag for inappropriate Relational aesthetics is a theory of aesthetics in which artworks are judged based . On the occasion of its opening in , the Palais de Tokyo immediately struck the visitor as different from other contemporary art venues that had recently. Excerpts from Relational Aesthetics, The work of art as social interstice. The possibility of a relational art (an art that takes as its theoretical horizon the.

    Marijam Did February, Critique of Nicolas Bourriaud's Relational Aesthetics and Altermodernism In this essay I will attempt to give my rather critical view towards Bourriaud's claim to 'Relational Aestheticism', sometimes linking it with his other piece of writing 'Altermodern' as a support for my argument. I will be using a range of examples I gathered through my observations of how relational art works as well as bringing other critics' views in order to make my points. Nicolas Bourriaud is a rock-star of art criticism and curating in the contemporary art world today. In his works collected in 'Relational Aesthetics' , Bourriaud had already begun to diagnose the problems of post-modernism that he would go on to confront with his concept of the Altermodern. It is a struggle to fully understand whether Bourriaud means this particular medium, relational practice, as simply socially immersed, or whether it has to have a political agenda as well. The statement that artworks cannot offer imaginary realities any more is a rather problematic one, nor is it true that it has only been since s that artists would have started creating pieces that would emulate ways of living. Bourriaud's description of Felix-Gonzalez Torres' practice 1 implies that he wants the audience to take away something from his installations, not only literally — the sweets — but some political message too. According to Bourriaud, Gonzalez-Torres is 'offering a life model that could be shared by all, and identified with by everyone' p. A rather political concept of sharing is crucial here. They are not imaginary realities one would crave for, and therefore can not be identified as relational. Unless the relationship would be recognised as a hierarchical one straight up, Bourriaud cannot claim for them to be 'model — like' at all.

    Maybe Bourriaud is a firm supporter of Roland Barthes text 'The Death of The Author' 4, however American author's and critic's Camille Paglia's words seem to be very poignant when she says: 'Most pernicious of French imports [into American academia] is the notion that there is no person behind a text. The Parisian is a provincial when he pretends to speak for the universe. From the outside it is an enormous black shed right in the middle of the exhibition.

    One can like Rolling Stones' music, but then find out that they were a very corporate, money-suckling entity and not see their music in the same way again.

    In this discussion also, the term 'medium' is crucial. Some relational art cannot be further away from ideas and purposes than other relational art, therefore a struggle occurs where it is difficult to place them under the same 'Relational Aesthetics' term, as they would maybe sit more comfortably in between pieces of other times and other mediums, that had more similar approach to ethics and ways of organising and exhibiting.

    Claire Bishop does, however, oversimplify the matter when she writes: 'I am not suggesting that relational art works need to develop a greater social conscience—by making pinboard works about international terrorism, for example, or giving free curries to refugees.

    Santiago Sierra's or Tania Bruguera's works are valuable not only because they are aesthetically pleasing, but because they do politically and relationally what they set out to with convincing execution of these aims. Agnes Deane's 'Wheatfield' 6 or even Tiravanija's 'Untitled Free ' in Gallery are struggling to achieve similar effects because of their hierarchical, micro-topian language which weakens the work rather than making it stronger.

    If utopia suggests perfection, microtopia defines adaptation. So it is not the ethical vs.

    Subsequently, the medium does not necessarily have to come into this. The same is to say about Bourriaud's attempt to single out 'Altermodern' as a new kind of art that has arrived at the end of the post-modern period, made in today's global context, as a a reaction against cultural standardisation. Yet again, he fails to recognise the continuous global expansion of capitalism, something that has started about two centuries ago and what has led to a birth of modernism.

    There are definitely examples of some shift towards a new way of organising society hence producing a new kind of art, but Bourriaud fails to bring these examples to support his theory therefore completely missing the opportunity. Because if Bourriaud thinks that we are past post- modern, he must be able to recognise the shifts of society as we know it, but his arguments for that 6.

    Created during a six-month period in the spring, summer, and fall of when Denes, with the support of the Public Art Fund, planted a field of golden wheat on two acres of rubble-strewn landfill near Wall Street and the World Trade Center in lower Manhattan and then distributed the grown seeds worldwide.

    His notion of the shift is very liberal rather than revolutionary, but for the strength of the movement that he wants, liberal won't work. Bourriaud is trying to play Baudelaire here with Baudelaire's famous words: 'It is true that this great tradition has been lost, and that the new one is not yet established'. Once again, his examples of the pieces in this exhibition struggle to support his manifesto: 1. The end of postmodernism 2.

    What is Relational Aesthetics : Art?.pdf

    Cultural hybridisation 3. Travelling as a new way to produce forms 4. The expanding formats of art 'Under threat from fundamentalism and consumer driven uniformisation, menaced by massification and the enforced re-abandonment of individual identity, art today needs to reinvent itself, and on a planetary scale. Because for as long as there will be this hypocrisy, neither Altermodern or Relational Aesthetics can be held as strong fundamentals possessing theories.

    As Dr. Jeanne S. Ok, so I just looked at pictures of Nicolas Bourriaud, which are very much public on Facebook, and so I can say, yeah, he is not Ready yet; 8.

    I get the feeling is that his heart is kind of in the right place, but is so accustomed to his ways of life and art that he really struggles to see anything beyond that that completely cripples all of his work..

    When modernism was 'announced', there were still artists that were engaged in 'feudal' art, when post-modernism kicked in there were still artists working with the themes of industrial revolution, the same goes with the attempt to break away from post-modernism.

    Bourriaud is still stuck within the post-modern thought, because he is stuck in the capitalist thought as well. Only a strong break from that, in my opinion, creates anything else than post-modernism and there are artists and collectives that are beyond that. Baudelaire of 'bad faith' due to the many contradictions in his life and work.

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    Sulakshna Tp. Gradually however, as the bus kept on stopping, and another person carrying a large plant with foliage or exotic blooms came aboard, the murmurs and laughter began to grow. As the journey continued, there were so many people carrying plants and flowers, that the bus began to resemble a form of mobile garden centre, with hanging baskets suspended on hand rails and the entire bus corridor disappearing behind thick green shrubbery.

    The man seated next to me ignored the whole intervention, and by the manner he pushed past me to disembark, seemed perhaps quite annoyed. Another man, due to the sheer amount of plants filling up the space, grew irritated as the foliage from a hanging basket repeatedly poked him in the face.

    Other passengers, having been initially curious, laughed and smiled once they understood that it was an intervention, and asked what we were doing, saying that the flowers were beautiful. As more and more performers got on board, the atmosphere became ever more light-hearted, and a sense of community sprang up, not just between the 26 performers, most of whom had not previously met each other, but also between the performers and fellow passengers with whom we conversed freely. This nascent sense of community was playful and unexpected, given that we had been directed to not specifically open conversation, but clearly not everyone wanted to participate: the bus journey was in the early afternoon and there were people who just wanted to get home, or listen to music through headphones.

    In front of me, I watched as one of the performers chatted with a fellow passenger. We had been directed to offer our plants as a gift to passengers at the end of the journey and the performer in front of me, having struck up a conversation, now offered her plant as a gift.

    I would… Thank you, thank you! The space was redevelo As we all got off the bus, passengers and other people passing through the terminal accepted the plants that we, the performers, were giving away.

    Shortly after this discussion we all went our separate ways. In all, five hours passed between the performers coming together, acquiring a plant and then separating again and very little survives of the intervention. What contrasts with this lack of materiality is the feeling of community that manifested itself in a space that passengers themselves commented was one where conversations rarely occur.

    The intervention did not try to perpetuate this sense of community: as quickly as relations had been created, they were then left to disperse, without any attempt to engage people beyond that experience. In this manner, no names were written down, or messages exchanged to prolong the state of encounter; the sum of what occurred is video footage that has been compressed into a five minute film, 11 and a defunct WhatsApp group that the performers used to communicate logistical details.

    The intervention did not speak to any particular political debate or articulate itself to any kind of slogan. There was no sense that performers were advocating a particular cause, and yet fellow passengers were curious to know what was happening and why. Some passengers said as everyone was getting off that it was nice to speak to someone on public transport; that it was a pleasant change to have a conversation in what was usually such a depersonalised space.

    Zoom Original jpeg, k Jardim de Passagem. Photograph by the author. From what I observed on the bus, this apprehension was partly realised. There were passengers who resented their commute being interrupted, just as there were passengers who gave no response to the intervention, preferring to remain in their own space. But it was the very diversity of passenger reactions that was striking. Some passengers were annoyed, some passengers laughed, interacted and shared jokes, and at least one woman was moved to tears.

    These ephemeral relations were created as a result of nothing more than carrying a plant and it was precisely the possibility of these relations, as Siewerdt stressed, which had facilitated the open-ended nature of the intervention. One art scholar asked me to specify what exactly the intervention had changed or brought about.

    Within a relational aesthetic paradigm, the liberation of forms of subjectivity takes places within a matrix of horizontality, as opposed to a vertical, authoritarian relationship between artist and audience. No one on the bus was required to compromise their subjectivity to be part of a wider community, because as soon as that community had formed, it disappeared.

    In this space, people are free to elaborate their own subjectivity, and in this vein, create a particular and personal scheme of meaning.

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