Critique of Relational Art: Bourriaud's Legacy Reassessed
In his exploration of relational art, Roberto Ago critiques Nicolas Bourriaud's movement for not fulfilling its theoretical commitments. He highlights three key misconceptions: the mix-up between the creator's intent and the true interpretation, the neglect of the self-serving aspects of relational practices, and the merging of art with everyday life. Ago points to the roots of art in ritual, referencing Aristotle's Poetics and the concept of catharsis, while differentiating between Apollonian and Dionysian influences. He contends that contemporary art has fluctuated between these forces since Impressionism, with the Postmodern period diluting this tension. He regards relational art as an extension of earlier dialectics rather than a true breakthrough, praising Pierre Huyghe for transcending the label and questioning Rirkrit Tiravanija's performances. Ago ultimately asserts that relational artworks lack energy, comparing them to 'thoroughbred mummies.'
Key facts
- The article is the second part of a critical lesson on relational art by Roberto Ago.
- Ago identifies three misunderstandings in relational art: intentio auctoris vs. intentio operis, underestimation of egoic and appropriative components, and confusion of art with life.
- Ago traces art's origins to ritual, referencing Aristotle's Poetics and catharsis.
- He argues that art stages evil to exorcise it, citing examples from tragedy to film.
- Ago claims that contemporary art began with Impressionism, driven by the rejection of realism due to photography and cinema.
- He describes the Postmodern as a weakened dialectic, equating it with mannerism.
- Ago asserts that relational art was not the genuine expression of the 1990s but a continuation of oppositional dialectic.
- He cites Pierre Huyghe as an artist whose work transcends the relational label, and questions the longevity of Rirkrit Tiravanija's performances.
- Ago concludes that art and life do not coincide, and that relational artists must produce works with formal and conceptual merit.
- The MAXXI exhibition of relational art is cited as evidence of the movement's failure.
Entities
Artists
- Roberto Ago
- Nicolas Bourriaud
- Aristotle
- Friedrich Schiller
- Pierre Huyghe
- Rirkrit Tiravanija
- Claude Monet
- Vincent van Gogh
- Paul Cézanne
- Pablo Picasso
- Kazimir Malevich
- Piet Mondrian
- Marcel Duchamp
- Jackson Pollock
- Mark Rothko
- Lucio Fontana
- Andy Warhol
- Matthew Barney
- Damien Hirst
- Friedrich Nietzsche
Institutions
- MAXXI
- Artribune
Locations
- Rome
- Italy