antagonism and relational aesthetics. claire bishop
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Presentation on Claire Bishop's article. Antagonism and Relational Aesthetics, published October 2004.TRANSCRIPT
Antagonism and Relational AestheticsClaire Bishop. October Journal.
Mark Lewis. The Fight
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Palais de Tokyo
“Site for contemporary creation”
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Art Factories…
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The Experience EconomyThe Experience Economy
Carsten Holler. The Unilever Series
Public Art to RegeneratePublic Art to Regenerate
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YBAs / Relational Aesthetics
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Clement Greenberg1909 - 1994
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“the realm of human interactionsand its social context, rather than theassertion of an independent andprivate symbolic space”Nicolas Bourriaud 1965
Greenberg / Bourriaud
Relationship to other mediums…
Installation ArtPeter CoffinUntitled (Spiral Staircase)2006
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1960s Performance ArtGunter BrusWiener Spaziergang 1965
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Jorge Pardo’s Pier for Skulpture. Projekte Munster (1997)
“relational art works insist upon use rather than contemplation”
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1. A new ism must develop from an old ism
2. A New ism is a new way of thinking about Art
3. Artists of an ism must hang out together
4. A new ism in invented by an Art critic
5. A new era leads to a new ism
Ben Lewis Art Safari
Key Artists• Traffic CAPC Bordeaux 1996• Rirkrit Tiravanija• Phillippe Parreno• Pierre Huyghe• Carston Holler• Christine Hill• Vanessa Beecroft• Maurizio Cattelan• Jorge Pardo
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Gillick / Tiravanija
Rirkrit TiravanijaUntitled (Free). 303 Gallery, New York, 1992
Rirkrit Tiravanija
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?
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Liam Gillick
Pinboard Project. (1992)
Prototype Erasmus Table No. 2 (1994)
Liam Gillick
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German Pavilion 2009How are You going to Behave?A kitchen cat speaks
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Nothing New…
Stephen Willats
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Around the Networks. January 2002
The poetics of the “work in movement” (and partly that of the “open” work) sets in motion a new cycle of relations between the artist and his audience, a new mechanics of aesthetic perception, a different status for the artistic product in contemporary society. It opens a new page in sociology and in pedagogy, as well as a new chapter in the history of art. It poses new practical problems by organizing new communicative situations. In short, it installs a new relationship between the contemplation and the utilization of a work of art.
Umberto Eco. The Open Work 1962
• Bourriaud Structure of an art work produces a social relationship
Theorists
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Grant Kester
“The emphasis is on the character of this interaction, not the physical or formal integrity of a given artifact or the artist’s experience in producing it”. Conversation Pieces
page 10
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Felix Gonzales-Torres Untitled (Placebo), 1991
• Bourriaud relies too heavily on the works’ relational content
Problems…
How do we critique the works?
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antagonism
Ernesto Laclau and Chantal Mouffe
A democratic society is one in which relations in conflict must be sustained and not erased.
Without antagonism there is only the imposed consensus of authoritarian order.
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Sierra / Hirschhorn
Santiago Sierra
Similarly involves the literal setting up of relations
…the relations are marked by sensations of unease and discomfort rather than belonging
Collaborates with participants from a diverseeconomic background
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2001 Venice Biennale
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Thomas Hirschhorn 1957
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T.H Bateille Monument
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Familiarity Bataillean themes: word, sex, image, art and sport
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Experience/ HonestyExperience/ Honesty
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Relational Antagonism is predicted not on social harmony but on exposing that which is repressed in sustaining the semblance of this harmony.
X factor!QuickTime™ and a
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