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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."
Bourriaud is best known among English speakers for his publications Relational Aesthetics (1998/English version 2002), Postproduction (2001), and The Exform (2015/ English version 2016). Relational Aesthetics in particular has come to be seen as a defining text for a wide variety of art produced by a generation who came to prominence in Europe ...
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 ...
Its artistic practice is connected with the tradition of European actionism and Nicolas Bourriaud's "relational aesthetics". The Fund is named after Leopold von Sacher-Masoch, which makes a reference to the marginal fields of culture and society and also underlines the locality (Sacher-Masoch was born in Lviv).
Social practice or socially engaged practice [1] in the arts focuses on community engagement through a range of art media, human interaction and social discourse. [2] While the term social practice has been used in the social sciences to refer to a fundamental property of human interaction, it has also been used to describe community-based arts practices such as relational aesthetics, [3] [4 ...
Littoral art is a term used by Canadian artist and writer Bruce Barber to describe art occurring outside of the institutions of the artworld. [1] It is a manifestation of Nicolas Bourriaud's relational aesthetics and is public and community-based, emphasizing the interaction between artists and spectators. [1]
Grigely is sometimes considered a proponent of Relational Aesthetics; he was included in Nicolas Bourriaud's show "Contacts" at Kunsthalle Fribourg in 2000 and "Touch: Relational Aesthetics in the 1990s" at the San Francisco Art Institute in 2002. [12] Grigely's work also explores how archives might be engaged creatively and critically.
Gillick was included in the 1996 exhibition Traffic, curated by Nicholas Bourriaud, which first introduced the term Relational Aesthetics. [ 1 ] In 2002, Gillick was selected to produce artworks for the canopy, the glass facade, the kiosks, the entrance ikon, and the vitrines, of the then-recently completed Home Office building, a United ...