In other words it is the idea that the artist works as a catalyst for an art piece rather than creating the final outcome. The piece isn't planned out to the last letter, it encourages other people to get involved. For example the artist could start an installation then encourage the audience to carry it on in some way.
I then read more into this and got very confused...
Traffic (1996) was an exhibition curated by Nicolas Bourriaud which consisted of a collection of 30 artists and their work), it was at the forefront of the relational aesthetics movement. His concept was to illustrate what he meant by relational aesthetics, not just through the final installation.
There was a lot of controversy about what he was trying to achieve through this exhibition, his concept was 'awkwardly formulated as the inter-human space of relationality’ the exhibition was described as ‘a great show, but the works aren't very good’. It was made up of a variety of media such as large scale sculpture, group drawings, video
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Installation View, Traffic, ©Mairie de Bordeaux, Photo: F. Deval. Copyright : Frédéric Delpech
The exhibition was about the exchange of ideas between all 30 artist as they got together to eat, drink and dance prior to the work being created.
'The anti-form style which prevails in ‘Traffic’ involves the use of low-grade materials, a disinterest in elaborate fabrication processes and a general emphasis on proposition rather than end product. The art works are often based on a performance, events or actions, presented in actuality or in the form of documentation, recordings or the display of related props and souvenir-objects.'
I have noticed that the use of every-day objects is often found in this kind of work, I feel this is because it is always about making the work relevant to the viewer, and therefore creating longevity from the work, which carries it on after the exhibition has finished.
Also I found it interesting that it was described that pleasure and enjoyment were not to be found in the installation. Like the enjoyment is all found in the build up and the making but the actual finished piece is no longer important.
The way I understand relational aesthetics is to see the practice of developing, creating, exhibiting and the actual exhibition as the final piece, not just the piece that is created at the end.
The audience have a crucial role in the final work, as without an audience the work is not finished.
Obviously I did not see this work first hand, although I would have loved to, to understand more, and I would be interested to see if I would appreciate the work for what it is physically or enjoy the underlying themes as I now understand them. It sounds like some of the works were much more successful than others.
One works I particularly liked out of the 30 artists was Dominique Gonzalez-Foerster’s seance room, This was an intimate interaction where the audience were invited to recall early childhood memories with the artist in an effort to draw a 'floor plan', when the individual drawing was complete this drawing was placed with others on the wall to create one piece. 'attendants thoughts and feelings swim up from the past and are added to the drawing as brief notes,' I found it interesting how the experience was described as a ' pleasant experience and therapeutic in an uncertain way.'
Freedman, C. (May 1998). Frieze. Traffic.
Dominique Gonzalez-Foerster also creates immersive environments that evoke a sense of atmosphere, such as 'Blue room' I find this artist exciting and I can relate to her approach in wanting to create submersive installations as this is something I would love to be able to achieve in the future.
Blue room (1998) Séance de Shadow II (bleu) (1998), a room in which the movement of visitors triggers lights that cast shadows on to a blue wall…
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