Magíster en artes, con mención en teoría e historia del arte / Tesis no autorizada por su autora para ser publicada a texto completo en repositorio institucional. / Este documento revisa el texto Estética Relacional de Nicolas Bourriaud, considerado como una curaduría: una selección y exposición de obras, examinando, por una parte, las afirmaciones que propone esa selección para referirse al arte contemporáneo; y, por otra parte, la posibilidad de la acción curatorial para ser definida como obra. Este ejercicio es realizado por medio de la relación de los textos de Bourriaud: Estética Relacional, Formas de vida. El arte moderno y la invención de sí, y Postproducción; así como por medio del diálogo de esos textos con distintos autores que sirven como referencia y contrapunto para realizar este ejercicio. Desde esta relación de textos, se propone a la acción del dandy en convergencia con la acción

Vegyna is a students club with option of vegan eating. An integral function of the club is also the possibility of informal meetings, hanging out, thinking, organizing workshopes, lectures, screenings, etc.

The aim of this thesis is to conduct a post-relational reading of the programme of relational art and its influence upon current aesthetics. ‘Post’ is not used in the indicative sense here: it does not simply denote the passing of the high water mark of relational art’s critical reception. Rather, it seeks to identify what remains symptomatically unresolved in relational art through a reading of its texts together with its critique. Amongst these unresolved problems certain questions endure. The question of this art’s claim to autonomy and its problematic mode of appearance and materialism remain at large. Ironically it shares the same fate as the avant-garde it sought to distance itself from; the failure to unite art with the everyday. But it has nevertheless redefined the parameters of artistic production: this is its success. I argue that this is because relational art was internally riven from its outset by a contradiction between its micropolitical structures and the need to find a mode of representation that did not transgress its self-imposed taboo upon visual representation. I identify a number of strategies that relational art has used to address this problem: for example its transitive ethics and its separation of ‘the visual’ from formal representations of public space and of a liminal counter-public sphere. Above all, I argue that its principle of the productive mimesis and translation of social relations through art is the guarantor of this art’s autonomy. My thesis is premised upon the notion that one can learn much about new forms of critical art from the precepts and suppositions that informed relational aesthetics and its critical reception. Relational aesthetics, in fact, establishes the terms of engagement that inform new critical art. Above all, this is because the question of the ‘relation of non-relation’ is bigger than relational aesthetics. The ‘relation of non-relation’ does not denote the impossibility of relation between subjects. Rather, it is a category that identifies non-relation as the very source of productive relations. This can be applied to those liminal points of separation that 6 delineate the territory of critical art prior to relational aesthetics. For example, these instances of ‘non-relation’ appear in the separation of art from non-art; of representation from micropolitics and of the anti-relational opposition of the philosophical categories of the general and the particular. Overall, I seek to reclaim Bourriaud as instrumental to the re-thinking of these categories and as essential to a reading of current critical art discourse. I identify a number of misreadings of relational aesthetics that result from a misrecognition or unwillingness to engage with Nicolas Bourriaud’s direct influences: Serge Daney, Michel de Certeau, Gilles Deleuze and Louis Althusser are often overlooked in this respect. I argue that Bourriaud’s critics tend to bring their own agendas to bear on his work, often seeking to remediate what is problematic. These critiques introduce existing aesthetic and political paradigms into his work in order to claim him as their own. So for example we encounter antagonistic relational aesthetics as the reinstatement of the avant-garde. Also, relational aesthetics as an immanent critique of the commodity form within a selective reading of Theodor Adorno. Also, we encounter dissensual relational aesthetics as ‘communities of sense’ that adopt site-specific methodologies whose mode of inhabitation of the socius is a reaction to relational aesthetics and is premised upon separatism. This diversification of relational art’s critique does not address, however, its fundamental problems of autonomy and representation. Rather, in different ways, they sidestep these issues and duplicate their non-relationality in the form of an impasse. My reading seeks to read the relational programme as a whole and to reclaim that which is symptomatically post-relational within it. I think that this is important because the critique of Bourriaud is presently unduly weighted towards the analysis of Relational Aesthetics (Nicolas Bourriaud, Relational Aesthetics, trans. by S. Pleasance and F. Woods, (Dijon: Les presses du réel, 2002)), thus important developments within Postproduction (2002) and The Radicant(2009) have gone overlooked. Specifically, Bourriaud’s increased emphasis upon a topology of forms and an Althusserian ‘aleatory materialism’ demand that we ask whether relationality in art is ontological or epistemological in form. It also demands that we re-consider its claims to materialism and critical realism on its own terms. Bourriaud’s later works are important not simply because they set out how relational art might inhabit networks of electronic communication but because they begin to develop a more coherent thinking of new modes of relational representation. Bourriaud begins to address the aporia of micropolitics and representation in his later works. His notion of representation becomes increasingly a matter of spatio-temporal relation and the representational act becomes increasingly identified with the motility of the relational act as a performative presentation. In the light of these developments, I argue that the thinking of relation that has thus far dictated the philosophical analysis of relationality and political aesthetics results in an acute anti-relationality or a ‘relational anarchism’. This is why the philosophy of Jacques Rancière and Alain Badiou respectively, are inadequate to the demands of current aesthetics. In fact they hinder its development. On this basis I turn to Rodolphe Gashé’s re-thinking of relation. His thinking grants relation a minimal ontology that in fact excludes it from philosophy, but at the same time, plays a key role in the construction of singularities as new epistemological categories. Gashé suggests a unique epistemological value for relations and recognizes what is evental within them. These singularities find their modes of appearance within various forms of the encounter. Gashé’s thought is helpful in that it identifies the non-relational of relation with its event. Also, I argue that a theory of post-relational representation is necessary to address the ‘weak manifestations of relational art’, although not in a transgressive or messianistic form; also, that this thinking of representation, when combined with aleatory materialism, produces a 8 broad constituency of representational forms with which to construct a more robust critical art. This includes the documentary form. In order to address the objections of micropolitics I therefore advance Philip Auslander’s notion of the performativity of the document as essential to relational aesthetics because it is an art form that in fact requires mediation by the visual. My argument is premised upon the ineliminability of representation from the aesthetic and moreover, that the artwork is constituted within a broad nexus of operations and acts of signification. This fragmentary construction is the source of the objectivity or critical realism of these practices. I argue that ‘visual’ documentation functions as a tool for presencing and connecting relations of exchange but is merely one of the forms of representation available to visual artists.

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This thesis analyzes contemporary participatory installation art, play theory, especially Johan Huizingas seminal Homo Ludens, and the aesthetic theories of Nicolas Bourriauds Relational Aesthetics and Jacques Rancires Politics of Aesthetics. Ping Pond Table 1998 by Gabriel Orozco and Test Site 2006 by Cartsen Hller are studied to illustrate how play and the aesthetic can become political by repositioning the contemporary viewer as an active and playing participant in the artwork, prompting an awareness of the matrix of power between audience, artwork and institution, and by creating the possibility for dynamic social roles. This thesis, like the artworks it examines, invokes a conception of play as a vital construct of culture rather than simply the domain of childhood imagination. Overturning the dominant concept of play and reinstating play in adult life becomes a political act because it engages adults in liberated, creative thinking that challenges traditional, consumer-driven, practical and thus constructive behaviours.

Esta tese se constituiu a partir de um interesse sobre o campo da arte e da tecnologia. A arte, independente de seu suporte, é uma forma de expressão e de experimentação legítima da criação humana, explorando os limites de significação e ressignificação da vida, da produção de sentido e da constante maneira de inventar atributos, contaminados de inteligência. Inspirado na cultura de VJ – Video-Jockey – de edição ao vivo de imagens e música, o VJEdu (Video-Jockey Educativo) é um projeto de pesquisa sobre mídias digitais que suportam diversas linguagens e seu uso, a fim de expandir a experiência do público que visita uma exposição de arte. Embora sua concepção original estivesse mais voltada para a educação formal, houve uma ampliação desse enfoque para a possibilidade de utilização em instituições culturais, com variados tipos de público. A pesquisa se desenvolveu a partir da necessidade de criação de uma tecnologia específica para galerias e museus de arte, incluindo a adaptação de um software. Essa tecnologia foi criada visando novas funcionalidades para interação com a base de dados, constituída não apenas de vídeo e som, mas com mídias de imagem e texto. As mídias são produzidas a partir de cada exposição, elaborando uma documentação customizada sobre as obras de arte, artistas e contextos da exposição. O público interage através de uma plataforma digital com dispositivos e aparelhos de apresentação audiovisual, explorando essa base de dados e construindo um percurso com contextos referentes à exposição, ampliando a experiência de sua visitação. O VJEdu tem como referencial teórico conceitos derivados da intermedialidade, sobretudo os conceitos de pós-produção, de Nicolas Bourriaud, e de pós-história, de Vilém Flusser. O projeto piloto do VJEdu foi testado em três galerias: na Fortress to Solitude, em Nova York, no Centro Skol, em Montreal, e na La Photo, em Porto Alegre. Em cada lugar, foi construído um banco de dados específico e foram coletadas informações referentes à performance dos visitantes. Os resultados alcançados apontam para uma possibilidade de utilização do software em galerias, museus, outras instituições culturais e educacionais, bem como nos setores de mediação educativa em mostras como as Bienais de Arte. O projeto contou com o apoio, no Brasil, da agência de fomento CAPES e, no Canadá, com o auxílio do CNPq e da Universidade de Montreal. / This thesis is formed from an interest in the field of art and technology. Art, regardless of its support is a form of self expression and experimentation of human creation, exploring the limits of meaning and reframing of life, of its production and constant way to invent attributes, contaminated intelligence. Inspired by the culture of VJ – Video Jockey –, live editing of images and music, VJEdu (Educational Video Jockey) is a research project on digital media that supports various languages and their use to expand the experience of the public who visit an art exhibition. Although its original design was more focused on formal education, there was an extension of this approach for possible use in cultural institutions, with varying types of audiences. The research was developed from the need to create a specific technology for art galleries and museums, including the adaptation of software. This technology was created especially for new features to interact with a database consisting not only of video and sound, but also of image media and text. The media must be produced from each art exhibition, developing a customized documentation on art works, artists and it’s contexts. The public interacts with digital platform devices for audio-visual presentation, exploring the database and building a route with contexts relating to the exhibition, enhancing the experience of their visitation. The VJEdu project has theoretical concepts derived the intermedia, especially the concepts of post-production of Nicolas Bourriaud, and post-history of Flusser. The project was tested in three galleries: the Fortress to Solitude in New York, Skol Centre in Montreal and La Photo in Porto Alegre. At each place a custom database was built and data was collected about the performances of the visitors. The results point to a promising of use of this software in art galeries, museums, in cultural and educational institutions, and in educational projects within shows as Art Biennales. The project was supported by funding agencies CAPES and CNPq in Brazil, and the University of Montreal in Canada.

Esta tese se constituiu a partir de um interesse sobre o campo da arte e da tecnologia. A arte, independente de seu suporte, é uma forma de expressão e de experimentação legítima da criação humana, explorando os limites de significação e ressignificação da vida, da produção de sentido e da constante maneira de inventar atributos, contaminados de inteligência. Inspirado na cultura de VJ – Video-Jockey – de edição ao vivo de imagens e música, o VJEdu (Video-Jockey Educativo) é um projeto de pesquisa sobre mídias digitais que suportam diversas linguagens e seu uso, a fim de expandir a experiência do público que visita uma exposição de arte. Embora sua concepção original estivesse mais voltada para a educação formal, houve uma ampliação desse enfoque para a possibilidade de utilização em instituições culturais, com variados tipos de público. A pesquisa se desenvolveu a partir da necessidade de criação de uma tecnologia específica para galerias e museus de arte, incluindo a adaptação de um software. Essa tecnologia foi criada visando novas funcionalidades para interação com a base de dados, constituída não apenas de vídeo e som, mas com mídias de imagem e texto. As mídias são produzidas a partir de cada exposição, elaborando uma documentação customizada sobre as obras de arte, artistas e contextos da exposição. O público interage através de uma plataforma digital com dispositivos e aparelhos de apresentação audiovisual, explorando essa base de dados e construindo um percurso com contextos referentes à exposição, ampliando a experiência de sua visitação. O VJEdu tem como referencial teórico conceitos derivados da intermedialidade, sobretudo os conceitos de pós-produção, de Nicolas Bourriaud, e de pós-história, de Vilém Flusser. O projeto piloto do VJEdu foi testado em três galerias: na Fortress to Solitude, em Nova York, no Centro Skol, em Montreal, e na La Photo, em Porto Alegre. Em cada lugar, foi construído um banco de dados específico e foram coletadas informações referentes à performance dos visitantes. Os resultados alcançados apontam para uma possibilidade de utilização do software em galerias, museus, outras instituições culturais e educacionais, bem como nos setores de mediação educativa em mostras como as Bienais de Arte. O projeto contou com o apoio, no Brasil, da agência de fomento CAPES e, no Canadá, com o auxílio do CNPq e da Universidade de Montreal. / This thesis is formed from an interest in the field of art and technology. Art, regardless of its support is a form of self expression and experimentation of human creation, exploring the limits of meaning and reframing of life, of its production and constant way to invent attributes, contaminated intelligence. Inspired by the culture of VJ – Video Jockey –, live editing of images and music, VJEdu (Educational Video Jockey) is a research project on digital media that supports various languages and their use to expand the experience of the public who visit an art exhibition. Although its original design was more focused on formal education, there was an extension of this approach for possible use in cultural institutions, with varying types of audiences. The research was developed from the need to create a specific technology for art galleries and museums, including the adaptation of software. This technology was created especially for new features to interact with a database consisting not only of video and sound, but also of image media and text. The media must be produced from each art exhibition, developing a customized documentation on art works, artists and it’s contexts. The public interacts with digital platform devices for audio-visual presentation, exploring the database and building a route with contexts relating to the exhibition, enhancing the experience of their visitation. The VJEdu project has theoretical concepts derived the intermedia, especially the concepts of post-production of Nicolas Bourriaud, and post-history of Flusser. The project was tested in three galleries: the Fortress to Solitude in New York, Skol Centre in Montreal and La Photo in Porto Alegre. At each place a custom database was built and data was collected about the performances of the visitors. The results point to a promising of use of this software in art galeries, museums, in cultural and educational institutions, and in educational projects within shows as Art Biennales. The project was supported by funding agencies CAPES and CNPq in Brazil, and the University of Montreal in Canada.

Esta tese se constituiu a partir de um interesse sobre o campo da arte e da tecnologia. A arte, independente de seu suporte, é uma forma de expressão e de experimentação legítima da criação humana, explorando os limites de significação e ressignificação da vida, da produção de sentido e da constante maneira de inventar atributos, contaminados de inteligência. Inspirado na cultura de VJ – Video-Jockey – de edição ao vivo de imagens e música, o VJEdu (Video-Jockey Educativo) é um projeto de pesquisa sobre mídias digitais que suportam diversas linguagens e seu uso, a fim de expandir a experiência do público que visita uma exposição de arte. Embora sua concepção original estivesse mais voltada para a educação formal, houve uma ampliação desse enfoque para a possibilidade de utilização em instituições culturais, com variados tipos de público. A pesquisa se desenvolveu a partir da necessidade de criação de uma tecnologia específica para galerias e museus de arte, incluindo a adaptação de um software. Essa tecnologia foi criada visando novas funcionalidades para interação com a base de dados, constituída não apenas de vídeo e som, mas com mídias de imagem e texto. As mídias são produzidas a partir de cada exposição, elaborando uma documentação customizada sobre as obras de arte, artistas e contextos da exposição. O público interage através de uma plataforma digital com dispositivos e aparelhos de apresentação audiovisual, explorando essa base de dados e construindo um percurso com contextos referentes à exposição, ampliando a experiência de sua visitação. O VJEdu tem como referencial teórico conceitos derivados da intermedialidade, sobretudo os conceitos de pós-produção, de Nicolas Bourriaud, e de pós-história, de Vilém Flusser. O projeto piloto do VJEdu foi testado em três galerias: na Fortress to Solitude, em Nova York, no Centro Skol, em Montreal, e na La Photo, em Porto Alegre. Em cada lugar, foi construído um banco de dados específico e foram coletadas informações referentes à performance dos visitantes. Os resultados alcançados apontam para uma possibilidade de utilização do software em galerias, museus, outras instituições culturais e educacionais, bem como nos setores de mediação educativa em mostras como as Bienais de Arte. O projeto contou com o apoio, no Brasil, da agência de fomento CAPES e, no Canadá, com o auxílio do CNPq e da Universidade de Montreal. / This thesis is formed from an interest in the field of art and technology. Art, regardless of its support is a form of self expression and experimentation of human creation, exploring the limits of meaning and reframing of life, of its production and constant way to invent attributes, contaminated intelligence. Inspired by the culture of VJ – Video Jockey –, live editing of images and music, VJEdu (Educational Video Jockey) is a research project on digital media that supports various languages and their use to expand the experience of the public who visit an art exhibition. Although its original design was more focused on formal education, there was an extension of this approach for possible use in cultural institutions, with varying types of audiences. The research was developed from the need to create a specific technology for art galleries and museums, including the adaptation of software. This technology was created especially for new features to interact with a database consisting not only of video and sound, but also of image media and text. The media must be produced from each art exhibition, developing a customized documentation on art works, artists and it’s contexts. The public interacts with digital platform devices for audio-visual presentation, exploring the database and building a route with contexts relating to the exhibition, enhancing the experience of their visitation. The VJEdu project has theoretical concepts derived the intermedia, especially the concepts of post-production of Nicolas Bourriaud, and post-history of Flusser. The project was tested in three galleries: the Fortress to Solitude in New York, Skol Centre in Montreal and La Photo in Porto Alegre. At each place a custom database was built and data was collected about the performances of the visitors. The results point to a promising of use of this software in art galeries, museums, in cultural and educational institutions, and in educational projects within shows as Art Biennales. The project was supported by funding agencies CAPES and CNPq in Brazil, and the University of Montreal in Canada.

The book Postproduction: Culture as Screenplay, written by French aesthetician Nicolas Bourriaud is going to be initial text for my diploma thesis. Bourriaud claims, that contemporary art is mostly made by the principle of assemblage; art works are made by reinterpretation, reproducing or by new exhibiting of artefacts or forms of past. The assumption of the original concept in artworks of contemporary artists - semionauts (travelers in the worlds of signs) has been allready completely ineffective. Through the example of hyperrealistic paintings, which has lately reappeared in portfolios of international and czech artists, I will try to show whether its revilal is based on the emergence of new medias, that even more than in the seventies simulate reality or whether they deal with the concept of postpostprodution - the artists lend only formal, in this case, hyperrealistic, signs. This diploma thesis will be completed by the case study of paintings of czech hyperrealist painter Jan Mikulka.

No description available.