關係美學 Relational art

「愛國愛港厚多士」和「食咗我隻居?」可以是社會介入式藝術、行為藝術、亦屬關係美學的作品,據法國評論家尼可拉斯.柏瑞歐(Nicolas Bourriaud)定義的關係美學[i],包括以下要素:

1. 藝術家設計一個特定的場境 (例如吃多士、砌磚頭) ,來將社會現實轉換過來,或顯示社會現實;
2. 觀眾可參與作品的創作,與作品、其他觀眾或藝術家互動。(據過往經驗,來火炭開放工作室參觀的觀眾,不單人數眾多,且都是藝術愛好者,相當積極參與作品,在這樣的環境做關係藝術,事半功倍);
3. 作品的重點不在於完成品,而是過程和開放的討論。所以「愛國愛港厚多士」,最後是肯定愛國愛港的重要性抑或成為現實的批判,現在還是末知之數。「食咗我隻居?」,初步看見大家為了買樓,放棄了各式各樣的東西,部分更相當重要,亦有放棄買樓的。答案展現了大家的慾望,對現實問題的策略和部分人的反省。這些討論比起作品多士和磚頭更為重要。

[i] Bourriaud, Nicloas. Relational Aesthetics, Translated by Simon Pleasance and Fronza Woods. France: Les Presses du Réel, 2002. Print.

“Love China Love Hong Kong Thick Toast” and “Erosion of Home?” can be socially engaged art, performance art and relational art. According to the French critic Nicolas Bourriaud, relationship aesthetics can be defined 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.”[i] The artist can be more accurately viewed as the “catalyst” in relational art, rather than being at the centre,[ii] comprising of the following elements:

  1. Artists design a specific context (such as eating toast, using bricks to construct a wall), which is a converted form of the social reality, or which display social reality;
  2. The audience takes on a major role and participates in the creation of works and interacts with each other. (According to past experience, the Fotanian Open Studio event had many visitors and most of them are art lovers. They actively participated in interacting with the art work. Fotanian Open Studio is a good platform for relational art);
  3. The focus of the work is not the finished product but the process and open discussion. Therefore the result of the survey of “Love China Love Hong Kong Thick Toast” emphasizes the importance of patriotism or criticizing patriotism is not the focus; the process of the discussion is more important. The answers to “What did you give up to own a flat?” show people’s desire and strategies to solve practical problems. These are the focus of the work, not the object art: the bricks or the toast.

[i] Bourriaud, Nicloas. Relational Aesthetics, Translated by Simon Pleasance and Fronza Woods. France: Les Presses du Réel, 2002. P. 133, Print.[ii]http://place.unm.edu/relational_art.html

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