Week 2 Aesthetics and Politics of Contemporary Art(31/01/2008)


The media, form and gallery in art has the relation with each other. The technology does not have the fixed hierarchical position in the art. It should be the interactive position with the three factors. Refer to the archaeological study on technology and social boundary, the technology does not belong to the the specific group so it is difficult to distinguish the different ethnic groups by technology. What they claim and how they practice the technology in the daily life are the main factors to shape their identity. I think the relation between art and technology should be placed under the artist's claim and how the technology will be practiced to answer the questions which be proposed by materialsm.


  1. Bourriaud focus on the debate in contemporary art after 1970.

  2. postwar

  3. return relational politics

  4. two ways:type text;(?)

  5. What is relational aesthetics

  6. France, 1980, curator and commentator

  7. What is long texture behind 1980?

  8. hard Maxist and soft Marxist

  9. impact on minimal art and conceptual art.

  10. Judging culture.

  11. He wants position in relation___________. Relation with blain(?)

  12. identity art?

  13. Commoditical art experience

  14. What is the problem of media for Bourriaud.

  15. TV: typical image. Technology represented by TV is passive. Any way to audience.

  16. Social interaction

  17. technology is a social question

  18. leash <----technology

  19. _________separation by social force

  20. technology not social.

  21. Body is thinking again

  22. Godard

  23. long tradition.

  24. This notion is promoted by ________.

  25. moral logic

  26. close group

  27. different type, dialogic

  28. the relation is dynamic, media structure

  29. transit

  30. a social problem

  31. physical engagement

  32. socialist, muslin

  33. british library, breaking the rule. casset of fascism and communism

  34. speak with the other

  35. what is talked about materialism by Bourriaud?Luis Althurssur, Spinoza. Social form, relation, situation.

  36. This notion is situal and behove us.

  37. Materialsm-> natural materialism.

  38. Critical realism, ritual body, debate.

  39. Result in using a thing again.

  40. Exchange value.

  41. Contemporary art and claim for realism.

  42. Social bond.

  43. Social is never smooth.

  44. Where is the social agent?

  45. Three areas: a. transfit; b: operational; c. the notion of materialism

  46. serious form

  47. Bourriaud type.

  48. Why the relation_______ contribute the form. Its relational attipity.

  49. Social relation make us reflect the form.

  50. But soft important

  51. myriad box

  52. stage, high value.

  53. In the early 1990s

  54. expansion. Art in the gallery, not good.

  55. Best given modern period

  56. separate from friend.

  57. Habermas, Greenberg, George. deploy frequently

  58. precise ultinamy

  59. b___1930s, Avant-Garde

  60. ambition

  61. habermas said: ___ Avant-Garde fails to _______.

  62. period of a sense

  63. Neil Avant-Garde

  64. Cage Cleegen

  65. They create sight(site) make Avant-Garde_.

  66. Octorber <-----Journal

  67. Art space is not about gallery. It can ________anywhere

  68. Fundamental

  69. Art Incoporateed by Julian Stallabrass

    Core Reading:

    *. Nicolas Bourriaud, Relational Aesthetics, trans. Simon Pleasance and Fronza Woods, Dijon: les presses du réel, 2002.


1.This is a society where human relations are no longer "directied experienced", but start to become blurred in their "spectacular" representation.-p8

2.Over and above its mercantile nature and its semantic value, the work of art represents a social interstice, This interstice term was used by Karl Marx to describe trading communities that elude the capitalist economic context by being removed from the law of profit: barter, merchandisingm autarkic types of production, etc. The interstice is a space in human relations which fit more or less harmoniously and openly into the overall system, but suggests other trading possibilities than those in effect with this system. This is the precise nature of the contemporary art exhibition in the arena of representational commerce: it creates free areas, and time spans whose rhythm contrasts with those structuring everyday life, and it encourages an inter-human commerce that differs from the "communication zone" that are imposing upon us.-p16

3.The contemporary artwork's form is spreading out from its material form: it is a linking element, a principle of dynamic agglutination. An artwork is a dot on line.-p21

4.The work of art actually shows (or suggests) not only its manuacturing and production process, its position within the set of exchange, and the place, or function, it allocates to the beholder, but also the creative behavior of the artist (otherwise put, the sequence of postures and guestures which make up his/her work, and which each individual work passes on like a sample or marker). So every canvas produced by Jackson Pollock so closely links his flow of painting to an artist's behaviour, that the latter seems to be the image of the former, like its "necessary product", as Hubert Damisch has written.-p41

5.For all I know, an artist addresses his works to the contemporaries, unless he regards himself as under sentence of death, or terminally ill, or unless he espouses a fascist-fundamentalist version of History (time closed in on its sense, and origin). On the other hand, artworks which today seem to me worthy of ongoing interest are those which work like interstices, like space-time factors governed by an ecnomiy going beyond rule in force controlling the management of different kinds o public and audience.-p57

6.Our hypothesis is that the exhibition has become the basic unit from which it is possible conceive of relationships between art and ideology ushered in by technologies, to the detriment of the individual work.-p71-p72

7. The future of art, as an instrument of emancipation, and as a political tool aimed at the liberation of form of subjectivity, depends on the way artists deal with this issue. For art, no technology and technology is a subject. By putting technology in its produtive context, by analysing its relations with the superstructure and the layer of obligatory behaviour underpinning its use, it become onversely possible to produce model of relations with the world, heading in the direction of modernity. Failing which, art will become an element of high tech deco in an increasingly discerting society.-p78

As one of the driving spirits behind the Fluxux movement, Robert Filliou said that art offers an immediate "right of asylum" to all deviant practices which cannot find their place in their natural bed. -p102

The experience of the clinic accounts for a lot in this astonishment in front of this fragmentation of knowledge, this "corporatist subjectivity" that is in the end quite recent, a corporatist subjectivity that leads us, for example, into a reflex of "sectorization", to "aethesticize a cave art in which everything suggests that it had an essentially technological and culturak range".-p102

*. J.J. Charlesworth, “Twin Towers: The Spectacular Disappearance of Art and Politics”, Third Text, vol. 16, issue 4, 2002, pp.357-366.


  1. Politics in art is back. In contrast with the cynical manipulations that
    characterised the world of contemporary art in the mid-1990s, the turn
    of the new century sees growing attention paid to art that professes a
    more intelligent, critical and engaged relationship between art and its
    broader social and cultural context. -p357

2.Forms of collaboration and decentralisation in artistic production have

become increasingly visible in recent years; the critique of modernist

originality and uniqueness, and its implicit relationship to the classbased

hierarchism of culture and commodification, informs both the

debate about alternative structures of production and distribution in

art, as well as the discussion on the relationship of art to popular

culture and the people.-p357

3. What I want to argue here

is that much of the dynamism that appears as a revival of political

discourse and activity appears as such because of the current primacy

of cultural systems of mediation, relative to other forms of social

mediation in contemporary society.-p358

4. If the attempt to renegotiate social relations in the absence of old

structures of collective organisation and mediation preoccupies the

political elite in its approach to social policy, such motivations have not

gone unnoticed in the realm of culture and cultural policy.-p360

5. Whilst this

dismantling of ‘art for art’s sake’ elitism has gained the support of

many on the centre left, New Labour’s approach to culture could be

better typified as culturally relativist but only within the constraints of

free-market economics, and socially authoritarian as far as the

instrumental value of culture is concerned.-p360

6. With the context of the mass political parties no

longer representative of its anyway ever-diminishing constituency, and

popular participation in the mechanisms of democratic representation

continuing to slide throughout the democracies of the West, the

relationship between political discourse and the character of its

articulation within society needs to be examined again. This is why the

role of the mass media, and of cultural circuits of exchange in general,

becomes significant.-p363

7. The new visibility of political discourse is a product of the

availability of cultural systems of exchange in publicly articulating

the political, relative to other contexts.-p363

8. Experiences such as

two world wars and the Holocaust seriously compromised any moral

claim to the inherent benevolence of the capitalist system. Instead the

ideological containment of the left was achieved not by the positive

assertion of capitalist historical development but by the denial of the

possibility of reasoned social intervention and historical progress per


9. The area previously

demarcated as ‘culture’ is being transformed and, in keeping with

many other forms of cultural production, current artistic practice is

impelled to reject the traditional distinctions of the limits of art, in

order to provisionally compensate for an inarticulate political scene.-p366

10. If the concern with art and politics is to

mean anything but a mourning for the disappearance of both, then art

and politics will have to rediscover their common origins in human

society’s potential for creative self-transformation.-p366


* The Freee Art Collective Manifesto for a Counter-Hegemonic Art (Dave Beech, Andy Hewitt and Mel Jordan), (Freee Publication, 2006).