The social turn: collaboration and its discontent – Claire Bishop
Artforum, Feb, 2006, 178-183.
This catalogue of projects is just a sample of the recent surge of artistic interest in collectivity, collaboration, and direct engagement with specific social constituencies. .. Although these practices have had, for the most part, a relatively weak profile in the commercial art world-collective projects are more difficult to market than works by individual artists, and they are also less likely to be works than social events, publications, workshops, or performances-they nevertheless occupy an increasingly conspicuous presence in the public sector. (178)
This expanded field of relational practices currently goes by a variety of names: .. These practices are less interested in a relational aesthetic than in the creative rewards of collaborative activity-whether in the form of working with preexisting communities or establishing one’s own interdisciplinary network.
Many artists now make no distinction between their work inside and outside the gallery, and even highly established and commercially successful figures like Francis Alys, Pierre Huyghe, Matthew Barney, and Thomas Hirschhorn have all turned to social collaboration as an extension of their conceptual or sculptural practice. .. all are linked by a belief in the empowering creativity of collective action and shared ideas.
Nicolas Bourriaud in Relational Aesthetic, the defining text of relational practice, “art is the place that produces a specific sociability,” (179)
The discursive criteria of socially engaged art are, at present, drawn from a tacit analogy between anticapitalism and the Christian “good soul.” In this schema, self-sacrifice is triumphant: The artist should renounce authorial presence in favor of allowing participants to speak through him or her. ..
이 프레임 워크를 내 논의로 어떻게 끌어오 ㄹ수 있을 것인가.
artist – activist.