ARTE RELACIONAL NICOLAS BOURRIAUD PDF

Relational art or relational aesthetics is a mode or tendency in fine art practice originally observed and highlighted by French art critic Nicolas Bourriaud. Bourriaud defined the approach as "a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space. The exhibition took its title and inspiration from Jacques Tati's film Trafic , in which Tati's protagonist is a Parisian automobile designer preparing a new model for an international auto show. In a denoument that became a fundamental relational aesthetics strategy, particularly for Tiravanija, Tati's entire film is about the designer's journey to the auto show at which he arrives just in time for the show to close. Bourriaud wishes to approach art in a way that ceases "to take shelter behind Sixties art history", [11] and instead seeks to offer different criteria by which to analyse the often opaque and open-ended works of art of the s.

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Relational art or relational aesthetics is a mode or tendency in fine art practice originally observed and highlighted by French art critic Nicolas Bourriaud. Bourriaud defined the approach as "a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.

The exhibition took its title and inspiration from Jacques Tati's film Trafic , in which Tati's protagonist is a Parisian automobile designer preparing a new model for an international auto show. In a denoument that became a fundamental relational aesthetics strategy, particularly for Tiravanija, Tati's entire film is about the designer's journey to the auto show at which he arrives just in time for the show to close.

Bourriaud wishes to approach art in a way that ceases "to take shelter behind Sixties art history", [11] and instead seeks to offer different criteria by which to analyse the often opaque and open-ended works of art of the s. To achieve this, Bourriaud imports the language of the s internet boom, using terminology such as user-friendliness , interactivity and DIY do-it-yourself. Bourriaud explores the notion of relational aesthetics through examples of what he calls relational art. According to Bourriaud, relational art encompasses "a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.

Bourriaud claims "the role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real, whatever scale chosen by the artist. Robert Stam, the head of new media and film studies at New York University , coined a term for the shared activity group: witnessing publics. Witnessing publics are "that loose collection of individuals, constituted by and through the media, acting as observers of injustices that might otherwise go unreported or unanswered.

In relational art, the audience is envisaged as a community. Rather than the artwork being an encounter between a viewer and an object, relational art produces encounters between people. Through these encounters, meaning is elaborated collectively , rather than in the space of individual consumption. Writer and director Ben Lewis has suggested that relational art is the new "ism", in analogue with "ism"s of earlier periods such as impressionism , expressionism and cubism.

In "Antagonism and Relational Aesthetics", published in in October , Claire Bishop describes the aesthetic of Palais de Tokyo as a "laboratory", the "curatorial modus operandi" of art produced in the s. As Hal Foster warned in the mids, 'the institution may overshadow the work that it otherwise highlights: it becomes the spectacle, it collects the cultural capital, and the director-curator becomes the star. In "Traffic Control", published one year later in Artforum , artist and critic Joe Scanlan goes one step further in ascribing to relational aesthetics a palpable peer pressure.

Scanlan writes, "Firsthand experience has convinced me that relational aesthetics has more to do with peer pressure than collective action or egalitarianism, which would suggest that one of the best ways to control human behavior is to practice relational aesthetics. In , Bourriaud curated an exhibition at the San Francisco Art Institute , Touch: Relational Art from the s to Now , "an exploration of the interactive works of a new generation of artists.

Critic Chris Cobb suggests that Bourriaud's "snapshot" of s art is a confirmation of the term and idea of relational art, while illustrating "different forms of social interaction as art that deal fundamentally with issues regarding public and private space.

In , Guggenheim Museum curator Nancy Spector organized an exhibition with most of the artists associated with Relational Aesthetics, but the term itself was shelved in favor of calling the show Theanyspacewhatever. From Wikipedia, the free encyclopedia. Mode or tendency in fine art. Main article: Traffic art exhibition. Archived from the original on Retrieved Relational Aesthetics , pp. Relational art. Western Art movements.

Rocaille Rococo Neoclassicism Romanticism. List of art movements Category:Art movements. Categories : Contemporary art Books about visual art Aesthetics Art movements. Namespaces Article Talk. Views Read Edit View history. Contribute Help Community portal Recent changes Upload file. In other projects Wikimedia Commons.

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Estetica Relacional (Em Portuguese do Brasil)

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ARTE RELACIONAL NICOLAS BOURRIAUD PDF

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