Agustina’s Comments (group member since Jun 08, 2017)

Agustina’s comments from the Experimental Art Group group.

want to add: it's good as an introductory way to more or less actual problems regarding the art experimentations of XX's, by means of saying it's not deep enough. It focuses on 90's exhibitions (mostly installations). Experimental cinema should not be dismissed! (from Vertov, Eisenstein, Maya Derens, Medvedkin to Marker, Godard, Farocki (essay-film, 60's, 70's, 80's)... to the 60's northamerican (jonas mekas, michael snow) or easteuropean (paradjanov, pellechyan)...

And now, at this very moment, i'd say it's music the most experimental about its own disciplinary limits. it's bursting forth really different uses and fountains of the sound. (say from brian eno to arca, hughe experimentation along there).

I immediately would recommend Bourriaud's "Relational Aesthetics" (1998) and "Post-Production" (2001) which brings under the spotlight with few but consistent words, the debate of new (both aesthetic/politic) problems of arts surrounding the radical changes that have ocurred ever since Duchamp and continued reaching higher points, about not only the way art is experimented by the "receptor" (see: Sontag's Against interpretation, 1966) but also and mostly how urgent is to replace a lot of notions and terms about the very sense of "reception":

art has become experimental sofar that its changes are not relying only "inside of the work": they trascend the objectivity of a work of art, to start speaking of the subjectivity of the relations implied in the experimentation with new forms of exhibition and participation, and in the larger artistic dispositif.

I would recommend to start with these two books of Bourriaud because they're short, introductory but clever at the same time. A myriad of artists and works of art (mostly exhibitions on art galleries) are noted on the books, so there's good material to start "googling" and expanding the investigation. The first of the two mentioned books is said (by some artists themselves who were commented in it) to be a response to a debate that was allready "hot" among experimental artists, on which he had to "clear his position":

Since Bourriaud was a curator, editor, and director of the Palais de Tokyo, the artists who are mentioned in the books and himself had worked in close collaboration. After these two books it's interesting to read Liam Gillick's response to Claire Bishop's book about relational aesthetics (some years after the influential publication of that of Bourriaud). Gillick's statement is raw about Bishop. He notes several ( eerie ! ) errors in Bishop's text, which Gillick considers to be wilful and unacceptable. He is also critical about Bourriaud's (of course, it's not the polemical case of Bishop...) , so reading these four texts in chronological order it's like reaching a climax along with this contemporary debate.

(I got them in pdf easily).

(im just breaking in without having asked ~~~ so... hi )