Relational aesthetics bourriaud wishes to approach art in a way that ceases to take shelter behind sixties art history,  and instead seeks to offer different criteria by which to analyse the often opaque and open-ended works of art of the 1990s. In the late 1990s participatory concepts have been expanded upon by a new generation of artists identified under the heading of relational art or relational aesthetics this is a term coined by the french curator nicolas bourriaud to describe a range of open-ended art practices, concerned with the network of human relations and the social context in which such relations arise.
But there was a darkness embedded within the relational aesthetics program, and it was perhaps best exemplified by messrs cattelan and höller.
This ya boy hennessy youngman, and today i wanted to move back into theory a little bit and introduce and explain this thing called relational aesthetics to ya'll u know i love you internet, and am just. From the beginning, mr bourriaud had ascribed potentially positive societal effects to relational aesthetics “art is like an angelic program, a set of tasks carried out beside or beneath the real economic system,” he argued floridly in one essay. Redefining art imagine you walk into an art exhibit prepared to enjoy a relaxing and thoughtful afternoon of silently admiring these artists' new ideas and concepts in art. Relational art or relational aesthetics is a mode or tendency in fine art practice originally observed and highlighted by french art critic nicolas bourriaudbourriaud 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.
Tate glossary definition for relational aesthetics: term created by curator nicholas bourriaud in the 1990s to describe the tendency he noticed in fine art practice to make art based on, or inspired by, human relations and their social context. Participatory arts refers to a range of arts practice, including relational aesthetics, where emphasis is placed on the role of the viewer or spectator in the physical or conceptual realisation and reception of the artwork the central component of participatory arts is the active participation of the viewer or spectator. Relational form artistic activity is a game, whose forms, patterns and functions develop and evolve according to periods and social contexts it is not an immutable essence.
Examples of relational aesthetics: tiravanija, gillick, and gonzalez-torres rirkrit tiravanija art installation in rirkrit tiravanija's piece, tiravanija painted rats on the wall symbolizing the rat race of life and placed the folding chairs side by side, inviting the viewer to share a seat with another person to experience the piece.
What up internet this ya boy hennessy youngman, and today i wanted to move back into theory a little bit and introduce and explain this thing called relational aesthetics. 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. “relational aesthetics” is a term coined by curator nicolas bourriaud for the exhibition “traffic,” held at the capc musée d’art contemporain de bordeaux in 1996 it refers to installations and interactive events designed to facilitate community among participants (both artists and viewers.
Relational aesthetics is still redolent of the 1990s that it came of age in — the beginnings of internet culture, instant communication, and the instantaneous gain and loss of celebrity, but without the same cynicism we’ve developed today. Relational aesthetics is a theory of aesthetics in which artworks are judged based upon the inter-human relations which they represent, produce, or prompt (bourriaud 2002:112. Relational aesthetics takes as its subject the entirety of life as it is lived, or the dynamic social environment, rather than attempting mimetic representation of object removed from daily life, as would be the case in a dutch baroque still life, for example.