It seems more pressing to invent possible relations with our neighbors in the present than to bet on happier tomorrows.
Currently hating on RA but NB was kind of spot on here. Today’s required reading: “The Fall of Relational Aesthetics,” Andrew Russeth for the New York Observer.
Bone up on your curatorial terminology with this hilariously titled article “WTF is… Relational Aesthetics?”
What better characterises this period than the mythification of origins? The meaning of a work of art, for this second-stage postmodernism, depends essentially on the social background to its production. “Where do you come from?” appears to be its most pressing question, and essentialism its critical paradigm. Identification with genre, ethnicity, a sexual orientation or a nation sets in motion a powerful machinery: multiculturalism, now a critical methodology, has virtually become a system of allotting meanings and assigning individuals their position in the hierarchy of social demands, reducing their whole being to their identity and stripping all their significance back to their origins.
Can you tell I don’t want to write my paper?
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.
Nicolas Bourriaud, “Relational Form” from Relational Aesthetics, 1998.
I really recommend you read this essay. Really.