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.
Bourriaud focus on the debate in contemporary art after 1970.
return relational politics
two ways:type text;(?)
What is relational aesthetics
France, 1980, curator and commentator
What is long texture behind 1980?
hard Maxist and soft Marxist
impact on minimal art and conceptual art.
He wants position in relation___________. Relation with blain(?)
Commoditical art experience
What is the problem of media for Bourriaud.
TV: typical image. Technology represented by TV is passive. Any way to audience.
technology is a social question
_________separation by social force
technology not social.
Body is thinking again
This notion is promoted by ________.
different type, dialogic
the relation is dynamic, media structure
a social problem
british library, breaking the rule. casset of fascism and communism
speak with the other
what is talked about materialism by Bourriaud?Luis Althurssur, Spinoza. Social form, relation, situation.
This notion is situal and behove us.
Materialsm-> natural materialism.
Critical realism, ritual body, debate.
Result in using a thing again.
Contemporary art and claim for realism.
Social is never smooth.
Where is the social agent?
Three areas: a. transfit; b: operational; c. the notion of materialism
Why the relation_______ contribute the form. Its relational attipity.
Social relation make us reflect the form.
But soft important
stage, high value.
In the early 1990s
expansion. Art in the gallery, not good.
Best given modern period
separate from friend.
Habermas, Greenberg, George. deploy frequently
habermas said: ___ Avant-Garde fails to _______.
period of a sense
They create sight(site) make Avant-Garde_.
Art space is not about gallery. It can ________anywhere
Art Incoporateed by Julian Stallabrass
*. Nicolas Bourriaud, Relational Aesthetics, trans. Simon Pleasance and Fronza Woods, Dijon: les presses du réel, 2002.
is a society where human relations are no longer "directied
experienced", but start to become blurred in their "spectacular"
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.
in art is back. In contrast with the cynical manipulations
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,
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
Hal Foster et al., 'Roundtable: The predicament of contemporary art', Art Since 1900: Modernism, Antimodernism (London: Thames and Hudson, 2004), pp.671-679.
* The Freee Art Collective Manifesto for a Counter-Hegemonic Art (Dave Beech, Andy Hewitt and Mel Jordan), (Freee Publication, 2006).