8/17/2019 Museum as Interactive Space
1/29
The role of museum in the 21st Century as an interactive space with a
viewer’s participation
(Name)
(Course Code and Name)
(Date)
1
8/17/2019 Museum as Interactive Space
2/29
1. Introduction
The thought of vising a museum always seems lively and delightful.
ife gets a!rmed for some people who "nd meaning in their life #y visiting
places where they can get to learn a#out their human history #y loo$ing into
traditional pieces of art. %n the other hand& the people also mostly consider
the visits to museums as a #oring activity& as they do not "nd meaning in it
at all. 'owever& 21st century has witnessed these museums to #ecome an
interactive space for most of the people where they can go and interact with
each other too and not ust with the old sha##y paintings or sculptures. The
modern museum has #ecome a sort of interactive place where people also
discuss with each other a#out history and several incidents that have led to
the formation of this particular era. This has #een helpful in reinvigorating
the image of museums as one of the most interesting places to visit in view
of many of the people. This should also #e noted that museums have #een
playing a role of #eing an interactive space where the people would not only
act as audience #ut also as participants.
The researcher’s interest grew in to this aspect of art where the aspect
of viewers #ecoming participants should #e considered. The idea to develop
this research came from the eperience of the research made in the past
that people spend a very little time in ma$ing engagement with the artwor$s
displayed in museums due to which they "nd lesser meaning in any one of
the pieces. The researcher has also witnessed a transformation in the role of
museums in not ust #eing the silent places with lots of artwor$s displayed&
2
8/17/2019 Museum as Interactive Space
3/29
#ut also #ecoming an interactive place where the people can interact and
discuss art. The viewers can witness the art and along with that participate in
a fruitful discussion through which ideas can #e shared. That #eing said& the
main purpose of this dissertation would #e to discuss the role of museum in
21st century as an interactive space with a viewer’s participation.
*n this regard& this dissertation is #asically divided into + chapters. The
"rst chapter is introduction& as mentioned a#ove& in which the #rief idea
a#out what is to #e discuss hereon has #een presented. ,long with that
research -uestions along with aims and o#ectives of this dissertation will #e
presented in introduction chapter. The second chapter will #e of literature
review. This chapter will present scholarly research a#out role of museums in
the past and how have museums transformed to #ecome an interactive
platform for viewers to interact with each other. ,part from that& the
literature review will also discuss how the theory of relational aesthetics
presented #y Nicholas ourriaud has #een the fundamental theory in this
su#ect and along with that a #rief introduction of three main artists will #e
made in the chapter. Third chapter will #e a#out methodology and in which it
will #e told how the data for analysis is collected and how the methodology
has #een applied. /ourth chapter will present in #rief three main case studies
#ased on theory of relational aesthetics. This means that these three cases
will #e actually a#out those artists who have participated into these activities
that are held museums as #eing interactive places. /ifth chapter will present
"ndings #ased on case studies and the sith and last chapter will present
0
8/17/2019 Museum as Interactive Space
4/29
conclusions and recommendation concerning how the museums can #ecome
more interactive places for enhancing viewers’ participation.
1.1. Research Aims and Objectives
The introduction a#ove has su!ciently provided the ideas a#out what
is to #e done in this research. Thus the main aim of the researcher will #e to
determine ways in which museum has #ecome an interactive space for
maimiation of viewers’ participation. /or this purpose& case study analysis
will #e employed. The main o#ective #ehind that is to loo$ through the past
and in 21st
century that how the museums have #een treated #efore and how
they can #e utilied for spreading awareness among viewers a#out displayed
artwor$s.
1.2. Research questions
The main research -uestion in this regard is given as follows
How justifed and sucient is the role o museum in 21st century as being an
interactive space or participation o viewers?
This research -uestion along with many other -uestions of peripheral
importance will #e addressed at the end of this research.
2. Literature Review
The main o#ective of literature review in this regard is to eplore past
studies and theories through which role of museum& as #eing an interactive
space& can #e determined. The literature section will also descri#e
importance of participation of viewers in the museum and its rising trend in
21st century. *n this regard& past practices concerning activities held in
3
8/17/2019 Museum as Interactive Space
5/29
museum for spreading awareness of art and understanding artwor$ among
visitors will also #e presented.
2.1. Theory of Relational Aesthetics
Theory of 4elational ,esthetics proposed #y Nichoas ourriaud in 1556
is considered as the most vigilant theoretical contet for accommodating the
new generation of artists. The artists considered here are those who
especially emerged in 1557s. The central premise of this theory is that
artistic practice of the 1557s can #e most comprehended in form of a shift of
paradigm in which the practice of art is more focused upon concept of inter8
human relations as well as production of socia#ility models.
The standard formula considered true in the modern art is that every
single thing is an art. The latest step in the process of considering anything
an art is that of relational aesthetics& which also means the posing of
production of social eperiences #y artist as an art ma$ing. *n his own #oo$&
ourriaud de"ned relational aesthetics as a set of artistic practices that
consider as their practical and theoretical point of departure the complete
human relations as well as their social contet rather than a private and
independent space. This also means that the proects concerning relational
aesthetics #asically di9er from traditional social as well as physical space of
any museum or art gallery and also any appropriated atelier or artist studio.
*n addition to that& the relational aesthetics also ta$es the completeness of
life as the main su#ect as it is lived. *t also ta$es it as the socially dynamic
environment& which is other than ma$ing the e9orts for imitative illustration
+
8/17/2019 Museum as Interactive Space
6/29
of artistic o#ects that are detached from routine life. This has also #een seen
in case of still life of Dutch aro-ue& which is soundest eample relating to
this theory.1
:imilarly& relational aesthetics has also #een de"ned #y critics in di9erent
other ways. The central o#ective of most of the art deduced from relational
aesthetics is creation of a social situation or environment. :imilarly& it is also
depicted that eperience of a viewer in a particularly constructed social
environment is also considered as an art.2 *n addition to that& the main tas$
of the artist in this regard is also to #ecome the channel for such a social
eperience. *n this manner& a physical space is often created #y the artists&
as it can #e used for speci"c social program or event.0 *n this regard& it has
further #een suggested that any form of event can #e considered in case of
relational aesthetics& such as communal meal& music show& or even a friendly
discussion. *n this regard& this concept is also fully applica#le in case of
museum #ecoming an interactive space where artists can present their art in
any form suita#le.
The framer of this theory is a champion of art. :uch an art is #asically
derived from eperimental production of social relationships and #onds.
ourriaud himself calls these #onds as ;invention of models of socia#ility’. 'e
also considers the modern discourse as a great improvement over the art of
1557s& which was more focused on traditional as well as o#ect8#ased art.
1
8/17/2019 Museum as Interactive Space
7/29
Critics suggest that there are o#vious ris$s involved in collection of diverse
range of practices that can #e added into this latest group of relational art.
:imilarly& ourriaud can also #e considered as an e9ective advocate of the
modern tendency for focusing on process& openness& performance&
transitivity& social environments and creation of dialogue over traditional
o#ect hood as well as hyper8individualism.3
4elational ,esthetics has also #een strongly criticied #y many modern
artists and curators. >ost of such critics and enemies are the conservative
artists who always prefer the art that depict #eauty in paintings. Dave 'ic$ey
has written a #oo$ namely 'nvisible (ragon in which he has strongly opposed
the idea of relational aesthetics proposed #y ourriaud.
ourriaud mainly claims in his #oo$ that the relational models are
#ased on responses to the real alienation and misery found in our society. 'e
also admits the fact that those artists a#out whom he is writing a#out are not
considered as challenging the current social relations’ system& which in other
words can also #e considered as capitalism. *t is further descri#ed that the
relational artists will ac$nowledge what ourriaud terms ;eisting real’ and
they are also delighted with playing with the social relations.
The author also claims that the relational aesthetics #asically wor$s
within the fa#ric of society. This also has reliance upon the live commentary
as well as -uic$ discussion and it also has reliance upon the aspect of
duration. ithin this duration& there is relational art& which struggles to
3 :arah Thornton& )even (ays in the !rt *orld (New Eor$ . . Norton F Company& 2776)&23
G
8/17/2019 Museum as Interactive Space
8/29
accomplish the modest connections and which also opens up with the
congested passages.+ *t also connects with the levels of reality that remained
set apart from each other. 'e has further claimed that the industrialied
societies in the est that are found within our 27th century world& the social
environment has #ecome so rapid that the associations and interactions
among di9erent individuals are eroding with the passage of time. ourriaud
has also claimed in the #oo$ that time is near when people will not #e a#le to
form and maintain their relationships with each other outside such trading
areas. 'e has also touched upon the #asic concept& which has inHuenced
many modern artists and also has #een a#le to introduce an artistic tool that
will #e helpful in esta#lishing as well as maintaining the connections that had
#een lost and missed otherwise.
ourriaud has further de"ned the term relational aesthetics as a form of art
#ased on its theoretical horion and on the realm of human interactions in
social contet rather than the concept or even application of a private and
independent sym#olic space.G *n view of the author& furthermore& one of the
most fundamental and o#vious issues in terms of dealing with the modern
art of relational aesthetics is concerned with approaching the #ody of wor$&
which #asically wor$s and operates without any form as well as contet of
the traditional material.6
+ Claire ishop& 'nstallation !rt" ! +ritical History (New Eor$ 4outledge& 277+)& 101 Carolyn Aorsmeyer& !esthetics" The ig #uestions (>alden lac$well Bu#lishers *nc.&2771)& 132
G Claire ishop& !rt % The ,ncounter" !ntagonism !nd $elational !esthetics (+irca& no. 113&277+)& 02
6 Tom olfe& The -ainted *ord (2nd ed.& New Eor$ /arrar& :traus F Iirou& *nc.& 2711)& 0+
6
8/17/2019 Museum as Interactive Space
9/29
*f we leave out for a while the aesthetic value and -uali"cation of this o#ect
or even its aestheticiation for a while& it has #een said that relational
aesthetics will still #e reduced to the following.5 *t is a form of art in which
the inter8su#ectivity is important for forming the su#strate and in which the
central theme is of #eing together.17 *t is also considered as an encounter
#etween the picture and the #eholder.11 *t is further ta$en as the collective
ela#oration and understanding of the meaning. ,s a matter of fact& art has
most of the times #een considered as relational and this has #een considered
in di9erent degrees and styles& i.e. founding principle of the dialogue and the
factor of socia#ility.12 This has also #een ac$nowledged #y ourriaud. This
can also #e argued that the art history would not have eisted as a matter of
fact if the people were not having the relational history. ,s a matter of fact&
the relational aesthetics is very uni-ue and this is #ecause its primary form is
completely and fundamentally interlaced with the culture& society and
history.10 This therefore demands the historians as well as critics to adopt a
#it di9erent method for classifying and deciphering the certain physical
o#ects in order to completely understand the same.13 :uch di9erence also
provides more value to this su#ect and ma$es it important for us to eamine
5 4ichard >eyer& !rt .ow" Teaching +ontemporary !rt in /os !ngeles (ecture& Bomona
College ,rt 'istory Department& Claremont& C,.& 2775)& 2317 ,nthony Downey& =Towards , Bolitics %f (4elational) ,estheticsJ (Third Te0t 21 (0)& 277G)&2G82G+
11 Dee 'i##ert8*T Bress& 277)& 103
10 Nicolas ourriaud& $elational !esthetics. (Dion es Bresses du 4Lel& 2772)& 1+013 :tewart >artin& +riti4ue % $elational !esthetics (Third Tet 21 (3)& 277G)& 05806
5
8/17/2019 Museum as Interactive Space
10/29
whether the relational aesthetics can #e evaluated with the help of use of
similar principles as in the o#ect #ased wor$s or there are other -ualities
re-uired which the historians should use for -ualifying for such artistic
practices. ,s a matter of fact& the relational aesthetics cannot #e considered&
as the only category formed in 21st century& which has given higher
importance to the viewers as participants and it is also not the "rst category
that has -uali"ed to do so over the last 177 years. Therefore& the art #ased
entirely on human interactions and associations& which is also $nown as
o#ect8#ased art& is highly valued in the modern days& as the people place
high value on participation or response of viewers.1+
ourriaud had discussed a#out the people through relational aesthetics as
the ones #eing oined together in a form. *f this is the case& then the form
can #e easily de"ned as a continuous encounter. :imilarly& it can also #e
seen that the relational wor$s essentially help create the form. 'ence it can
#e said that to udge the artwor$ essentially #ased on its formal components
will no more #e an issue in case the durational interaction is comprehended
as comprising the formations or forms. 4ather than that of udging the latest
wor$ #ased on the forms in the past& it will #e necessary for the form to
evolve with passage of time. *n this respect& in addition& the form #ecomes a
relational property as well. This is the reason that ourriaud claimed that
human$ind essentially and purely is #ased on the trans8individual ma$e up&
1+ Toni 4oss& !esthetic !utonomy !nd 'nterdisciplinarity" ! $esponse To .icolasourriaud5s ? $elational !esthetics? (
8/17/2019 Museum as Interactive Space
11/29
which comprises of #onds that connect the persons together in di9erent
social forms that are historical in an invaria#le style.1
The social form& in this contet& will then #e recorded as a sort of
physical #eing. :imilarly& li$e any other place in society& the world of art is
also essentially relational& as it is a#le to present a system of di9erent
positions with the help of which it can #e read. 'ence the eperience of the
same& i.e. relational art is very important as well as critical. The deeper
networ$ of interconnections among the mem#ers of a group would mean
that everything happening in #etween them would #e a function that will
#asically #e performed #y all of these mem#ers.
>ore importantly& the author also presents the reference of a relational
we#& which plays a very important role as compared to how people #asically
recognie it. *t is in words of the author the art& which ma$es it an art& and
not the artists who really ma$e it. 'ence every individual in such a relational
arena is considered as an artist and thus the art also functions in the creation
of art itself. This aspect also hints towards the radical disorder of the
aesthetic& political& social and cultural goals and o#ectives that are
introduced #y the modern art #asically& and in this the artist is considered as
the "nal mastermind. *t is also reported that the relational aesthetics& as a
matter of fact& does not present any sort of tur#ulence in the way as it shows
one.1G
1 Irant atson& $esponse To +laire ishop5s -aper %n $elational !esthetics (Circa& no.113&277+)& 0
1G ,rthur Danto& JThe ,rtworldJ. *n !esthetics" The ig #uestions& (1st ed.& 00833. >aldenlac$well Bu#lishers *nc.& 2771)& 3+83
11
8/17/2019 Museum as Interactive Space
12/29
The relational wor$ actually integrates to a large etent the artistic
aspect too& and it approaches as well as integrates the same in a very
di9erent manner from contemporary tradition that the humans accept and
ac$nowledge. :imilarly& there are altogether di9erent levels of material
presentations and depictions and which are occasionally found in author’s
theory too. %ccasionally it is also de#ata#le that whether the author will #e
categoriing some thing as the relational art or not. 4elational art is also not
directed #y any theme and hence it is not stipulated. *ts form is the theme it
follows& i.e. the sphere of inter8human relations.
*n any art ehi#ition& one of the many possi#ilities is that of immediate
discussion or which can #e considered for a later review that is opposed to
the -uic$ commentary that is also one possi#ility. *n case of latter& the #asic
driving force is relational aesthetics. ,dditionally& the main goal of the
relational art is that of the #etterment of society. ,uthor of the #oo$ also
insists that relational aesthetics is all a#out learning to incorporate this world
in #est possi#le way so as to try to shape it #ased on the predetermined
concept of historical evolution. /urthermore& the wor$ in case of relational art
will #e #ased on the preconceived evolution and which will #e discussed as
theatre. ,uthor in this regard insists that art should #e considered as a way
of living and a model of action within the currently eisting real framewor$&
which will #e opposed to the a#stract and ideal as well as rehearsed reaction
to the reality.16
16 inton&alch F Company& 2772)& 233
12
8/17/2019 Museum as Interactive Space
13/29
:imilarly& it should also #e noted that with the passage of time&
relational art is #eing performed across many avenues and arenas. *n
museums also& the people are performing the relational art where an
interactive space is created for the people& and the participants are all
performing to socialie with each other and present their art. This is not only
descri#ed #y ourriaud in his #oo$ a#out the relational aesthetics #ut other
modern researchers and artists have also agreed with the founder of
relational art that its application is paramount in case of its application in the
museum #eing an interactive space.15
The concept of the glo#al art also originated after a revision of the
relations organied in the world today.27 ith the epansion of technology as
well as modern forms of communication& the glo#al world eperienced a new
form of inter8connectivity.21 New forms of media and aesthetics were made
together as a response to the em#odiment of the interchanges among
people of di9erent cultures and it was possi#le for the easier transmutation.22
*n glo#al culture& art is now represented in di9erent forms now and the
museum is also considered as an interactive space where relational
aesthetics can #e performed.20 There are many cases where the artists have
used the museum space for relational aesthetics.23 The museum has #een
used as an interactive space #efore as well and since the #eginning of 21st
15 *#id.& 2138233.27 *#id.& 0815.21 *#id.& 07803.22 *#id.& +6861.20 *#id.& 103811.23 *#id.& 12816.
10
8/17/2019 Museum as Interactive Space
14/29
century& the museum is #eing used as an interactive space. The case studies
relating to the application of relational aesthetics in the museum as #eing
interactive space for emerging artists will #e discussed in the net sections.
. !ethodolo"y
The main purpose of this dissertation is to descri#e the museum as an
interactive space for the viewers’ participation. The main method used for
the purpose of this dissertation is that of case study analysis. *n this regard&
the net section will #e discussing three cases in which the artists have used
the museum as an interactive place in order to interact with each other. *n
this respect& they have also applied various concepts of theory of relational
aesthetics in case of using museum as interactive space.
The main reason #ehind the selection of case study method for this
dissertation is that the case study is epected to capture the compleity of a
case. The case is always discussed in greater detail and di9erent methods
are com#ined within case study so as to gather more and in8depth
information. ,nother #ene"t for using this is that it has #oth -ualitative and
-uantitative means for analying the data. /or the purpose of this research&
as mentioned a#ove& three cases relating to interactive space in museum
and the inclusion of relational aesthetics into it was #e discussed. These
cases will now #e eplored in net section #ased on which the analysis of the
data will #e esta#lished.
#. $ase %tudies
13
8/17/2019 Museum as Interactive Space
15/29
The "rst case to #e discussed is that of >ar$ ,llen and >achine Broect.
The proect was primarily concerned a#out creation of a gallery& which
#asically deals with the relational aesthetic art and #ased on which the
artists might not #e the younger artists only. 'owever& >ar$ ,llen had
created the >achine Broect that too$ a longer time for its creation. *n
general for the world of arts& >achine Broect was anticipated vis8M8vis its
inception for a long period of time. :ince the #eginning of his career as an
artist when he had started wor$ing as curator in Teas& and when he was
studying the California *nstitute of ,rts& >ar$ ,llen had showed interest in
the art community #ecause such a community had wor$ed outside as well as
within the academic institutions. 'e had found at earlier stage of his career
that there was a #asic di9erence #etween the art educational communities
outside of the academic institutions and the communities of formal and
appropriate art education in the same academic institutions. 'e had further
eperienced that there was an intrinsic disconnection #etween these two& i.e.
there was an institutional conversation collapse outside the particular
environment where it is considered as the eternal and real world.2+
Therefore& it had #ecome a very important thing for >ar$ ,llen to oin the
investigation of academic art community outside the academic institution
and similarly deal with it in some way that the pedagogical issue comes
against asserting agency that is outside of the institution.
2+ >ar$ ,llen& $elational !esthetics 'n person (?cho Bar$& C,& 271)& 22
1+
8/17/2019 Museum as Interactive Space
16/29
:imilarly& the >achine Broect was the idea of >ar$ ,llen. This proect
is #ased on the nonpro"t performance and installation space eamining art&
natural history& science& technology& literature& music and food. The proect
also presents di9erent wor$shops& events& as well as site8speci"c
installations with the help of hands8on engagement for ma$ing the
accessi#le and rare"ed $nowledge. The >achine Broect also wor$s as a
loose and confederated association of the artists who operate for producing
the shows in locations that are conducted in a wide range of museums& i.e.
#eyond the storefront space ac-uired #y the >achine Broect initially. ,llen
founded it& as mentioned a#ove& and it has #een wor$ing as an educational
non8pro"t institution since 277+.
>achine Broect has further developed itself into a mission and it is
now an informal& educational non8pro"t institution. *t now has the main
mission of creating& studying as well as sharing the new forms of ways of
living and culture.2 The mem#ers of this proect #uild colla#oration with
di9erent artists and local communities and the production of non8commercial
proects for investigation of art& technology& science& performance& literature&
music and new ideas is made. The #asic purpose in this regard is to #uild the
creative engagement of the young artists and general pu#lic in arts. The
main #elief of the mem#ers of this organiation is that it can #ecome a
machine for collective thought of the individuals. The organiation has also
#een running on8site as well as o98site programs and functions. *n this
2 >ar$ ,llen and
8/17/2019 Museum as Interactive Space
17/29
respect& the o98site functions have #een mostly conducted in museums&
where the latter have played the role of #eing interactive space for the
participation of viewers. *n this regard& it can also #e said that various
activities under the >achine Broect have also engaged the common viewers
for participation within the space provided #y the museum.
The second case study to #e discussed is that of )low (ancing proect
#y David >ichale$. This proect is actually helpful in creation of durational
dance photography. This wor$ #asically highlights the shapes formed in split
seconds that the #odies of dancers pass through during when they are
forming movement. :uch movement is created through the stretching of the
"ve to ten seconds long clips& which have #een applied on 30 dancers
chosen from all around the world. , ten8minute "lm is also produced #ased
on that. The producer was actually a#le to divide the dancers’ movement as
well as the movie’s method in simultaneous manner while he was a#le to
maintain the essential factor of time so as to allow the eistence of dance
into all the dimensions. This form of slow dancing was "rst time featured in a
+78feet proection in the incoln Center /estival in 277G in which the
producer was a#le to capture the attention of hundreds of thousands of
viewers in a matter of few days. :uch slow dancing actually also illuminates
the eperimentation of >ichele$ with that of eperimentation with the "lm&
which is centered on the series of photographic stills. The initial aim was to
show it during an ehi#ition in the museum& #ut the slow dancing later on
#ecame a huge success owing to the street audience’s engagement that sat
1G
8/17/2019 Museum as Interactive Space
18/29
and also watched all the parts of it. Those people watched all the parts of
this movie during the festival as well as later on and also had #een
conversing among each other. Those people were also relating this wor$ with
their own life eperiences as well as with the wor$s already displayed in the
center. This was the main intention of the producer& i.e. to engage the
audience and to etract more out of the people #y showing his wor$. ,nother
application of this proect was o#served in case of engagement of idea of
relational aesthetics proposed #y ourriaud.
*t can also #e said that >ichale$’s wor$ of :low Dancing is clearly
meeting the criteria set #y ourriaud in case of eplaining his model of
relational aesthetics. *t is righty said in the #oo$ written #y ourriaud that
the wor$ itself does not provide any spatial whole& which can #e traced
through the eye& #ut it can #e considered as a time span for crossing it in
se-uential manner& which is also similar to the short movie created #y the
com#ination of stills especially in which the viewers are themselves evolving.
:imilarly& the assem#ly of people who gathered as viewers had watched this
wor$ unfolding in front of them actually reHected the description given
earlier #y ourriaud. 'e stated it already that the appearance of art does not
lie in the world that a wor$ represents and it also does not form itself& #ut it
is presented in front of the world. 'e also said that this wor$ ta$es the
temporary collective form& which it forms when it is put on the show.
'ence& this is the #asic importance of the :low Dancing proect& which
has de"ned the concept of relational aesthetics. The main aspect of
16
8/17/2019 Museum as Interactive Space
19/29
relational aesthetics o#served here is that the wor$ itself #ecomes the
interactions that are located in front of it. :imilarly& this wor$ not only
reHects the viewers #ut also relocates the heart of the wor$ in terms of what
is #eing displayed as a display and also as the interaction in front of the
people. The physical o#ect also wor$s in order to produce the relational
component& which #asically resides at the center of the viewers’ attention.
This has also #een stated in ourriaud’s #oo$ that the social #onds and
connections actually transform into the standardied artifacts. *n this regard&
>ichale$ has not only changed the dancers’ movement via time& #ut he had
also changed the movement of the viewers as well. *t was o#served in the
incoln Center Blaa that the time remained still for the audience. The time
remained still for the dancers as well in order to allow them to lose their
stillness in case of >ichale$’s movie. The produced had #een a#le to
transcend the >anhattan time where even an hour goes #y li$e a second& as
the life there is too #usy.
,dditionally& the slow dancing eists in the way that >ichale$ has
presented. The producer has displayed the "lm inside as well as outside the
museum. 'e has also #een successful in transforming the wor$ #y
investigating the line #etween "lm and photography. 'e has also tried to
reside in the movie’s realm& which actually catches the sight of the
movement. ,lthough his main medium of production is the "lm& #ut the
manner in which he has tried to manipulate it has #asically caused it to wor$
as #oth photography and the "lm. ,s a matter of fact& the durational
15
8/17/2019 Museum as Interactive Space
20/29
interaction of the audience actually denies the photographic eplanation of
the piece and hence it also refuses the transformation of the setting& which is
the incoln Center Blaa& for the importance of wor$ itself. *n the words of
ourriaud& production of a form is aimed at invention of plausi#le encounters&
which receive the form for creation of conditions for the echange.2G
,nother case is that of 4ir$rit Tiravania& who is a Thai artist and who also
used the concept of relational aesthetics in his art and performed in the
museum. esides& he has also produced so many art products and has
displayed them in museum for sale or display and so that he could ma$e
some pro"ts out of these products. 'e has also used the place of museum as
a location from where he can interact with other people and where people
themselves can also #ecome audience and discuss themselves his products.
This is therefore the plot from where the products of 4ir$rit can #e #ought or
from where he can also conduct his #usiness. The application of relational
aesthetics is also seen here& as the people are interacting with each other
and discussing art& and the interest of the artist is also #eing met there. This
does show the use of relational art in case of museum once again.26 The case
studies descri#ed a#ove show that the interactive space is important& as it
provides the artists an opportunity to display their arts. The theory of
relational aesthetics has #een presented a#ove. Theory of 4elational
,esthetics proposed #y Nicolas ourriaud in 1556 is considered as the most
2G David >ichale$& )low (ancing (ecture& Bomona College Dance Department& Claremont&C,.& 2776)& 12
26 ,rden 4eed& The Movement o )low !rt (ecture& Bomona College ?nglish Department&Claremont& C,.& 2776)& 00
27
8/17/2019 Museum as Interactive Space
21/29
vigilant theoretical contet for accommodating the new generation of artists.
The artists considered here are those who especially emerged in 1557s. The
central premise of this theory is that artistic practice of the 1557s can #e
most comprehended in form of a shift of paradigm in which the practice of
art is more focused upon concept of inter8human relations as well as
production of socia#ility models.
The standard formula considered true in the modern art is that every single
thing is an art. The latest step in the process of considering anything an art is
that of relational aesthetics& which also means the posing of production of
social eperiences #y artist as an art ma$ing. *n his own #oo$& ourriaud
de"ned relational aesthetics as a set of artistic practices that consider as
their practical and theoretical point of departure the complete human
relations as well as their social contet rather than a private and
independent space.
&. 'indin"s
*t has #een discussed in the literature review as well as the case study
section that relational aesthetics did not appear out of nowhere rather it was
#ased on the participating predecessors. *n the same time& it has #een seen
that history also supports the relational aesthetics in case of such a historical
traectory. %n the other hand& there are also reasons concerned with the
relational aesthetics that appeared at the particular period of time. 4elational
wor$s have #een discussed in the previous chapter and the three cases have
#een eplained in relation to the ourriaud’s concept of relational aesthetics.
21
8/17/2019 Museum as Interactive Space
22/29
There were other community8#ased groups or clu#s& which played an
e9ective role in the 27th century. The present generation of the people who
were in their 37s had missed on the closed community8#ased organiations
and clu#s. :uch a community had eperienced a totally di9erent type of
eperience. >ost of the gatherings were face8to8face and were on the fringe.
The invention of the *nternet was also another factor that shaped the
current world. *t also shaped how art is displayed and perceived among the
people. The act of #ringing together people has also #een made easy owing
to the fruits of *nternet. This is #ecause the people are invited and are given
the opportunity to interact with each other. *n case of museum as #eing an
interactive space& it can also tae advantage of the new styles and traditions
#eing adopted #y the people. This should also mean that the people are also
adopting new ways and means. The museum has #een considered as one
case study a#ove& which has #een considered as interactive space where the
relational aesthetics can #e used.
The case studies descri#ed a#ove show that the interactive space is
important& as it provides the artists an opportunity to display their arts. The
theory of relational aesthetics has #een presented a#ove. Theory of
4elational ,esthetics proposed #y Nicolas ourriaud in 1556 is considered as
the most vigilant theoretical contet for accommodating the new generation
of artists. The artists considered here are those who especially emerged in
1557s. The central premise of this theory is that artistic practice of the 1557s
can #e most comprehended in form of a shift of paradigm in which the
22
8/17/2019 Museum as Interactive Space
23/29
practice of art is more focused upon concept of inter8human relations as well
as production of socia#ility models.
The standard formula considered true in the modern art is that every
single thing is an art. The latest step in the process of considering anything
an art is that of relational aesthetics& which also means the posing of
production of social eperiences #y artist as an art ma$ing. *n his own #oo$&
ourriaud de"ned relational aesthetics as a set of artistic practices that
consider as their practical and theoretical point of departure the complete
human relations as well as their social contet rather than a private and
independent space. This also means that the proects concerning relational
aesthetics #asically di9er from traditional social as well as physical space of
any museum or art gallery and also any appropriated atelier or artist studio.
*n addition to that& the relational aesthetics also ta$es the completeness of
life as the main su#ect as it is lived. *t also ta$es it as the socially dynamic
environment& which is other than ma$ing the e9orts for imitative illustration
of artistic o#ects that are detached from routine life. This has also #een seen
in case of still life of Dutch aro-ue& which is soundest eample relating to
this theory.25
/rom the a#ove case studies& one aspect that can #e seen is that relational
aesthetics can #e criticied in the sense that relational aesthetics are too
much of a wor$ in progress. This means that the aspect of relational
aesthetics is still not fully developed and there is much more progress
25 >arie :hur$us& $elational !esthetics9 $e:enactment9 and the -ost:Medium +ondition"*hat (i;erence (oes 't Ma
8/17/2019 Museum as Interactive Space
24/29
needed in this regard.07 This also means that the relational aesthetics as
de"ned and developed #y ourriaud was still not complete and more
practical research is needed in this regard. That #eing said& the main "nding
deduced from this case study analysis presented a#ove is that the artists
have #een using the museum as interactive space in order to showcase their
wor$ and also let the people interact with each other. This lets the people
study a#out art and di9erent artistic things and also let them have an
opportunity to eplore di9erent aspects of art.
(. $onclusion
This dissertation was #asically divided into + chapters. The "rst
chapter was introduction& as mentioned a#ove& in which the #rief idea a#out
what was to #e discussed has #een presented in this dissertation. ,long with
that research -uestions along with aims and o#ectives of this dissertation
have also #een presented in introduction chapter. The second chapter was of
literature review. This chapter has presented scholarly research a#out role of
museums in the past and how have museums transformed to #ecome an
interactive platform for viewers to interact with each other. ,part from that&
the literature review has also discussed how the theory of relational
aesthetics presented #y Nicholas ourriaud has #een the fundamental theory
in this su#ect and along with that a #rief introduction of three main artists
has #een made in the chapter. Third chapter was a#out methodology and in
which it has #een told how the data for analysis is collected and how the
07 iam Iillic$& +ontingent actors" ! $esponse to +laire ishop=s >!ntagonism and$elational !esthetics (%cto#er >againe& 277)& 56
23
8/17/2019 Museum as Interactive Space
25/29
methodology has #een applied. /ourth chapter has presented in #rief three
main case studies #ased on theory of relational aesthetics. This meant that
these three cases were actually a#out those artists who have participated
into these activities that are held in museums as #eing interactive places.
/ifth chapter has presented "ndings #ased on case studies.
*t has #een stated that Theory of 4elational ,esthetics proposed #y
Nicholas ourriaud in 1556 is considered as the most vigilant theoretical
contet for accommodating the new generation of artists. The artists
considered here are those who especially emerged in 1557s. The central
premise of this theory is that artistic practice of the 1557s can #e most
comprehended in form of a shift of paradigm in which the practice of art is
more focused upon concept of inter8human relations as well as production of
socia#ility models. The main conclusion that can de drawn from this
dissertation #ased on the research -uestion posed a#ove is that relational
aesthetics is a great emerging concept in art and it is helping in the
emerging artists to #ecome more ac-uainted with audience. The main
conclusion is also that the museum can #e used as an interactive place
where the artistic activities can #e held and people in general can interact
with each other for sharing insights a#out art and di9erent artistic things. *t
can also #e concluded that relational aesthetics can #e usti"a#ly
implemented in the museum if it is made as an interactive space. The
usti"cation comes from those artists who have #een using this space for
2+
8/17/2019 Museum as Interactive Space
26/29
their own purpose so that their artwor$ is appreciated and also the audience
and viewers are also attracted towards the new forms of art.
)iblio"ra*hy
,llen& >ar$. 4elational ,esthetics *n person. ?cho Bar$& C,& 271.
,llen& >ar$ and achine Broect Iuide to Cultural
'istory F the Natural :ciences& edited #y >ar$ ,llen and
8/17/2019 Museum as Interactive Space
27/29
Dewey& inton& alch F Company& 2772.
Dewey& alden lac$well
Bu#lishers *nc.& 2771.
2G
8/17/2019 Museum as Interactive Space
28/29
'i##ert8
8/17/2019 Museum as Interactive Space
29/29
:talla#rass& useum as rand.@ ecture& :cripps College ,rt
'istory Department& Claremont& C,& 2776.
Thornton& :arah. )even (ays in the !rt *orld. New Eor$ . . Norton F
Company& 2776.
olfe& Tom. The -ainted *ord. 2nd ed.& New Eor$ /arrar& :traus F Iirou& *nc.&
2711.
atson& Irant. J4esponse To Claire ishopPs Baper %n 4elational ,estheticsJ.
+irca& no. 113 0. doi17.207GO2++30G7& 277+.
25
Top Related