It will show that viewer -created and -controlled content does not necessarily predicate a banalisation of culture, and in fact can help the arts engage more effectively with the wider world, and vice versa.Ībstract (E): Art leaves a mark, so thought Felix Gonzalez-Torres, but what kind of mark? Gonzalez-Torres aimed to revitalize this age-old quest within the visual arts by challenging it. The difficulty the art establishment has had in assessing this inclusive turn via traditional criteria will be re-evaluated in relation to the new global channels of distribution and platforms for commentary made available online. It will use the practices of Kateřina Šedá and Bill Morrison to illustrate the diverse ways that art reflects and influences this renewed desire for connection, by trying to engage emotionally, aesthetically and intellectually with a wider audience. Using Terry Smith’s ‘Contemporary Art & Contemporaneity’ as a basis to investigate the claim the Postmodern condition is ‘dead’, this paper will factor social media into the societal turn from cynical indifference to sincerity and engagement examining a range of cultural and philosophical theories describing and analysing the shift. More than the artworks showcased in Bourriaud’s exhibitions and referenced in his publications, his artistic paradigms describe and delineate his own philosophical sleight of hand. Bourriaud’s publications repeatedly claim a historical materialist perspective on aesthetics, only to eventually eliminate this perspective his use and abuse of Situationist theory is the foundational example for this pattern.
This contextual restitution also provides an opportunity to examine Bourriaud’s general methodology of substituting conceptual formalism for art historical theory.
This article identifies such misrepresentations and highlights the differences between Bourriaud’s paradigms and those of the SI.
#Bourriaud nicolas relational aesthetics update#
Mischaracterizing the SI’s concepts of the situation, détournement, and the dérive, Bourriaud claims to update these concepts with concepts of his own: relational aesthetics, detourage, and radicant aesthetics. Nicolas Bourriaud was also in the curatorial team of the first and second Moscow Biennials in 20.Over the last decades, curator Nicolas Bourriaud has drawn significant inspiration for his writings on contemporary art from the theories of the Situationist International (SI), an avant-garde group in existence from 1957 until 1972. The Molecular Turn, La Panacée (2018) Back to Mulholland Drive, La Panacée (2017) Wirikuta, MECA Aguascalientes, Mexico (2016) The Great Acceleration, Art in the Anthropocene, Taipei Biennial (2014) The Angel of History, Palais des Beaux-Arts, Paris (2013) Monodrome, Athens Biennial (2011) and Altermodern, Tate Triennial, London (2009), among others. He is the author of the landmark publication Relational Aesthetics, published in 1998, and still inspirational today for many artists, curators, and art professionals worldwide.īourriaud's curated exhibitions include The 7th continent, Istanbul Biennial (2019), Crash Test. He also founded and co-directed the Palais de Tokyo, Paris, between 19, and founded the curatorial cooperative Radicants in 2022. He was Gulbenkian Curator for Contemporary Art at Tate Britain in London from 2007 to 2010 and founder advisor for the Victor Pinchuk Foundation in Kyiv. He was the director of the École Nationale Supérieure des Beaux-Arts de Paris from 2011 to 2015. He was the founder and director of Montpellier Contemporain (MoCo), gathering the La Panacée art centre, the École Supérieure des Beaux-Arts and Hôtel des Collections. Nicolas Bourriaud (born 1965) is a French curator, theoritian and writer.
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