Wednesday, November 1, 2017

Relational Aesthetics, Relational Art, RA

Relational Aesthetics, Relational Art, RA (1998/2002)

Postproduction (2001)

In Postproduction, I try to show that artists' intuitive relationship with art history is now going beyond what we call "the art of appropriation," which naturally infers an ideology of ownership, and moving toward a culture of the use of forms, a culture of constant activity of signs based on a collective ideal: sharing. 



Rirkrit Tiravanija

According to art historian Rochelle Steiner, Tiravanija's work “is fundamentally about bringing people together.”

Matthieu Laurette

"USING SOCIETY AS A CATALOG OF FORMS When Matthieu Laurette is reimbursed for products he has consumed by systematically using promotional coupons ("Satisfaction guaranteed or your money back"), he operates within the cracks of the promotional system. When he produces the pilot for a game show on the principle of exchange (El Gran trueque, 2000) or establishes an offshore bank with the aid of funds from donation boxes placed at the entrance of art centers (Laurette Bank Unlimited, 1999), he plays with economic forms as if they were the lines and colors of a painting."
- Bourriaud in Postproduction

Vanessa Beecoft

An Italian contemporary performance artist. She works in the United States. Many of her works have made use of professional models, sometimes in large numbers and sometimes naked or nearly so, to stage tableaux vivants.

Santiago Sierra

"The work of Santiago Sierra (born in 1966), like that of Tiravanija, involves the literal setting-up of relations among people: the artist, the participants in his work, and the audience. But since the late 1990s Sierra’s “actions” have been organized around relations that are more complicated—and more controversial—than those produced by the artists associated with relational aesthetics."

- Claire Bishop in Antagonism and Relational Aesthetics

Pierre Huyghe

Maurizio Cattelan

Dominique Gonzalez-Foerster

Liam Gillick

Excavating the Art of Alfred

Sarah Britten-Jones

Artist Statement
I source conceptual and physical material from my environment or situation, and manipulate it to reveal truths that are often denied or hidden. I am interested in the stories we tell ourselves in order to live, and how these self-narratives are exercised and take form through the things we create and consume. My work often provides an antithesis to the dominant storyline.


Stephanie Giera

Elena Gross

Bedspace B By Zac Whitworth

Me presenting Zach

Zach's inspiration:

In Closing

Postproduction last page

It is up to us as beholders of art to bring these relations to light. It is up to us to judge artworks in terms of the relations they produce in the specific contexts they inhabit. Because art is an activity that produces relationships to the world and in one form or another makes its relationships to space and time material.

Additional sources not cited above:
Niccolas Bourriaud:
Relational Art:
Relational Aesthetics:
Claire Bishop - Antagonism and Relational Aesthetics:
Boris Groys:

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