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Relational art or relational aesthetics is a mode or tendency in fine art practice originally observed and highlighted by French art critic Nicolas Bourriaud.Bourriaud defined the approach as "a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space."
Writing in Frieze art magazine, Carl Freedman said, "Traffic and Bourriaud’s concept of ‘relationality’ were just too unspecific to be capable of defining a new art, especially when so many of the works did little to support the exhibition’s premise. This was an ambitiously funded exhibition which was only able to provide the viewer ...
In 2015, Bourriaud was appointed director of the La Panacée art centre (a.k.a. MO.CO.PANACÉE) and the director of the Contemporary Art Center of Montpellier, France (aka MO.CO.); [9] In 2018, he joined a group of arts professionals — among them the artists Christian Boltanski and Jean-Luc Moulène – in signing an open letter published by the newspaper Libération, calling on the city of ...
Altermodern, a blend word defined by Nicolas Bourriaud, is an attempt at contextualizing art made in today's global context as a reaction against standardisation and commercialism. It is also the title of the Tate Britain 's fourth Triennial exhibition curated by Bourriaud.
Language links are at the top of the page across from the title.
The Restitution of African Cultural Heritage. Toward a New Relational Ethics (in French: Rapport sur la restitution du patrimoine culturel africain.Vers une nouvelle éthique relationnelle) is a report written by Senegalese academic and writer Felwine Sarr and French art historian Bénédicte Savoy, first published online in November 2018 in a French original version and an authorised English ...
Claire Bishop is a British art historian, critic, and Presidential Professor of Art History at CUNY Graduate Center, New York where she has taught since September 2008. [1] [2] Bishop is known as one of the central theorists of participation in visual art and performance.
The First Moscow Biennale of Contemporary Art (January 28 – February 28, 2005) caused great response both in Russia and abroad. The main exhibition “Dialectics of Hope” included projects by 41 artists from 22 countries and represented art that focuses on one of the most fundamental experiences of a modern human being: hope.