临演社会、微托邦与共存——论博瑞奥德关系美学

Society of Extras, Micro-utopia and Co-existence —— A study on Bourriaud's Relational Aesthetics

关系美学是法国策展家博瑞奥德于1998年提出的概念,他认为关系美学是依据艺术品所表征、生产与推动的人际关系来评判其美学理论。当下的社会限制了人际关系的可能性,人际关系在分离的社会中变得模糊,关系艺术通过建构开放自由的系统,重建某种共同体的感觉,来修复人际关系中的崩塌。博瑞奥德提出的临时演员社会不同于景观社会,在其中的多数人由观看者变成了表演者。"间隙"(interstice)一词形容关系美学所发生的空间,它可以嵌入整体系统内,提出另一种可能性。与之相对应的概念是微型乌托邦,它在效果上类似于福柯所说的异托邦,在实施策略上,又与情境主义者所提倡的"构境"相似。关系美学的核心恰与朗西埃提出的歧感相反,由此引发了二者的论争。

Relational aesthetics is named by Bourriaud in1998. Aesthetic theory consists in judging artworks on the basis of the inter-human relations which they represent, produce or prompt. The present society limits the possibility of human relations, relations between people are becoming blurred in society.Through constructing the system which is free and open, relational art builds the feeling of community to repair the collapse in human relations .The Society of extras is different from society of spectacle; most of the people in it are turned into performer. The interstice is used to describe the space in which the relational aesthetic happens, it can be embedded in the whole system, and provide another possibility. Micro-Utopia is similar to heterotopias in effect and similar to the constructed situation which is advocated by the situationist in strategy. The core of relational aesthetics is contrary to dissensus which is proposed by Ranciere, so they hold a heated debate.