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– no sense of closure, in that the work appears to be in-progress rather than completed This style of curating is direct reaction to type of art produced in 1990s: Displays “ideological exhibitions” … “the hang sought to reinforce or epitomize the ideas contained within the work…” The Palais de Tokyo, opened 2002 by Jerome Sans and Nicolas Bourriaud in Paris. “A do-it-yourself, microtopian ethos is what Bourriaud perceives to be the core political significance of relational aesthetics,” Bishop says, citings examples to flesh out discussion of what such work does and does not achieve. relational art is a direct outgrowth of installation art artist as DJ or programmer, rather than creator/initiator such works insist upon use, as opposed to contemplation, in viewing art and ushers in a shift in attitude toward art for social change: “Instead of trying to change their environment, artists today are simply learning to inhabit the world in a better way.” this relational art is a direct response to shift to service-based economy, virtual relationships and the web, and globalization … the viewer not simply addressed, but allowed/encouraged to be or start a community or take an action…

entirely beholden to environment and audience… ‘meaning’ is interpreted collectively, socially, rather than intimately or individually… In it, Bourriaud writes that newer 1990s-era works are no less politicized, but along different lines. were reluctant to move on from the politicized agendas and intellectual battles of 1980s art and were condemning everything from installation art to ironic painting as “depoliticized celebrations of surface, complicitous with consumer spectacle.” Bishop says the book redefines the agenda of contemporary art criticism, with the starting point that we can no longer approach these works from behind the shelter of sixties art history and its values.“ It came at a time when many academics in Britain and the U.S. In this essay, discussion of relational aesthetics is anchored by examination of Nicolas Bourriaud’s 1997 collection of essays Esthetique Relationnel, which Bishop says represents an important first step in identifying recent tendencies in contemporary art. “If relational art produces human relations, then the next logical question to ask is what types of relations are bing produced, for whom, and why?” Put another way, is dialog for dialog’s sake always good? Is more always better?

Bishop defines relational aesthetics through the lense of critic/analyst Nicolas Bourriaud, and concludes after respectfully explaining his (and other related) descriptions of and rationales for relational art with the deeper question: “Mission and History.” Accessed February 2015. “Collaboration in Art and Society: A Global Pursuit of Democratic Dialogue.” In Globalization and Contemporary Art, edited by Jonathan Harris. Berkeley and Los Angeles: University of California Press, 2004. Conversation Pieces: Community and Communication in Modern Art. The One and the Many: Contemporary Collaborative Art in a Global Context.

Translated by Simon Pleasance and Fronza Woods. London and New York: Verso, 2012.īourriaud, Nicolas.

“Introduction.” Artificial Hells: Participatory Art and the Politics of Spectatorship. “The Rise of Art Institutions in the United Arab Emirates and its Impact on Contemporary Art in the Extended MENASA Region.” In Museums in Arabia: Transnational Practices and Regional Processes, edited by Karen Exell and Sarina Wakefield. “Introduction,” March Meeting 2016: Education, Engagement, and Participation, n.d., Sharjah Art Foundation.