Antagonism and Relational Aesthetics
Antagonism and Relational Aesthetics
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对抗与关系美学
DOI：
10.1162/0162287042379810
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发表时间：
2004
期刊：
影响因子：
0.3
通讯作者：
C. Bishop
中科院分区：
文献类型：
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作者：
C. Bishop
在2002年开幕之际，东京宫立即给参观者留下了深刻的印象，因为它与欧洲最近开放的其他当代艺术场所不同。虽然花费了475万欧元的预算将1937年世界博览会的前日本馆改造成“当代创作场所”，但大部分资金都用于加固（而不是翻新）现有结构。这一决定很重要，因为它反映了在艺术评论家兼策展人杰罗姆·桑斯和尼古拉斯·布里奥的共同指导下，该场馆策展精神的一个关键方面，曾任CAPC波尔多策展人、《艺术文献》杂志编辑。东京宫与周围环境的即兴关系后来成为欧洲艺术场所重新定义“白色立方体”的明显趋势的典范。作为工作室或实验“实验室”展示当代艺术的模式。2、传统是什么
On the occasion of its opening in 2002, the Palais de Tokyo immediately struck the visitor as different from other contemporary art venues that had recently opened in Europe. Although a budget of 4.75 million euros was spent on converting the former Japanese pavilion for the 1937 World’s Fair into a “site for contemporary creation,” most of this money had been used to reinforce (rather than renovate) the existing structure.1 Instead of clean white walls, discreetly installed lighting, and wooden floors, the interior was left bare and unfinished. This decision was important, as it reflected a key aspect of the venue’s curatorial ethos under its codirectorship by Jerome Sans, an art critic and curator, and Nicolas Bourriaud, former curator at CAPC Bordeaux and editor of the journal Documents sur l’art. The Palais de Tokyo’s improvised relationship to its surroundings has subsequently become paradigmatic of a visible tendency among European art venues to reconceptualize the “white cube” model of displaying contemporary art as a studio or experimental “laboratory.”2 It is therefore in the tradition of what