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Relational Aesthetics Les Presses Du Reel Edition

3.5 out of 5 stars 11 customer reviews
ISBN-13: 978-2840660606
ISBN-10: 2840660601
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Frequently Bought Together

  • Relational Aesthetics
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  • Artificial Hells: Participatory Art and the Politics of Spectatorship
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  • Participation (Documents of Contemporary Art)
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Product Details

  • Paperback: 125 pages
  • Publisher: Les Presse Du Reel,Franc; Les Presses Du Reel edition (January 1, 1998)
  • Language: English
  • ISBN-10: 2840660601
  • ISBN-13: 978-2840660606
  • Product Dimensions: 5.8 x 0.3 x 8.2 inches
  • Shipping Weight: 2.4 ounces (View shipping rates and policies)
  • Average Customer Review: 3.5 out of 5 stars  See all reviews (11 customer reviews)
  • Amazon Best Sellers Rank: #339,399 in Books (See Top 100 in Books)

Customer Reviews

Top Customer Reviews

Format: Paperback Verified Purchase
If Relational Aesthetics is a practice you seek, then the book is something you must own. Nicolas Bourriaud is the father of Relational Aesthetics, and even some critics take his approach with a grain of salt, the book is a great resource for collaborative performance art.
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Format: Paperback
This book, presented as a critical text, gave academic cred to a group of artists who needed it. Like the fake articles in glossy magazines that upon closer inspection reveal themselves to be advertisements, this book hyped up a handful of artists whose self-congratulatory practices were all style and no content. The claim that Rirkrit Tiravanija or Liam Gillick had any sort of groundbreaking political novelty to present cannot withstand critical pressure. As we have seen, nothing they did had any effect other than annexing previously disruptive practices into the polite world of the gallery elite. Their actual relevance faded as did the ability of this text to hold any sort of critical water. Our generation's version of the emperor's new clothes. See Claire Bishop's Participation and her dialogue with Liam Gillick to see how flimsy Relational Aesthetics really is. (and by the way, it isn't just the poor translation's fault). Julian Stallabrass and Bishop both come at this type of work with a far sharper set of tools, and show that by Bourriaud's own claims, the artists who should be the referents here look far more like Thomas Hirshhorn and Gonzalez-Torres. In the context of these other artists and thinkers, Bourriaud's worldview just can't hold up.
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I think this book's flaw can be summed up simply: ALL ART IS RELATIONAL. Bourriaud goes on and on trying to convince you that there is a new art movement that is about artist creating a new relation between art and audience. But it is hype. Don't buy the hype.
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Format: Paperback
Where would we be without this essay? I'm not certain a whole generation of artists would even be recognized by the more conventional cultural community but undertaken by illusions of collectives and DIY marketing strategies. As any participant of this "relational" generation of artist knows art of the late 90's is much more complex than this and this movement has solidified a connection between design, science, economics and language that had been nearly lost during the art market crash of the 1980's.

I'm delighted that the influence of abjective art and conceptualism to urban revitalization and death of advanced capitalism has been explained in such an approachable way but can't help but feel this investigation does not go far enough into its thesis. The book feels slightly simplistic and repetitive explaining concepts referenced in numerous predating theoretical texts.

I remain a fan and heartfelt by this book and am hopeful that a more sophisticated analysis of this aesthetic will be published by this remarkable scholar.
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Thought provoking with interesting ideas expressed very well. A must read for all artists seeking an individual path with integrity.
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Format: Paperback
I am just beginning my venture into critical discussion of the Arts and reading Relational Aesthetics sparked my interest in art's effect of linkageing and relating. The author explores and gives names of many artists working in the 90's that used human interaction as their medium.

The bad parts about this book are the many misspellings and the major stylistic shifts in the writing and translation.
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