Relational Art and the White Cube: A Critical Dialogue

In a classroom discussion led by Christian Caliandro, students at the Accademia di Belle Arti di Firenze dissect the nuances of relational art, distinguishing between simple participation and co-creation. Gaia explains that in simple participation, the audience follows predetermined instructions set by the artist, whereas co-creation involves shared authorship. The conversation critiques Nicolas Bourriaud's Relational Aesthetics, echoing Claire Bishop's argument in Artificial Hells that such works within the white cube are simulations—relationships that appear collaborative but remain staged. The white cube itself is described as a deliberately hostile space that neutralizes the authentic potential of relational art. Marta references Rirkrit Tiravanija's Untitled (Tomorrow Is Another Day) (1996) as an example of art functioning as an infrastructure for relationships, yet questions its authenticity within the gallery. The discussion extends to Tracey Emin's My Bed and Kurt Schwitters' Merzbau, noting that the latter remained in his home, accessible only to a few. Caliandro argues that truly collaborative art cannot survive in the exhibition space; only its traces can be displayed. The dialogue underscores the tension between institutional frameworks and the desire for genuine communal art, pointing to historical precedents like Allan Kaprow's happenings and works by Oldenburg and Rauschenberg that sought to dissolve the boundary between art and life.