艺术果酱 |关系美学存在的意义
In this technological era, people capture and appreciate artworks through the lens of their smartphones. Early museum conversations go like this: “This artwork is beautiful!” “Can you take a picture for me? I want to share it on social media.” Museums have long become a place for checking in and taking pictures for most people.
在这个科技时代，大家都是透过手机镜头去记录和欣赏作品。
在艺术馆早已稀松平常对话：
这个作品好好看呀！
能不能帮我拍个照？我想发个朋友圈。
艺术馆早已成为大部分人打卡拍照的地方。
In this era, a group of artists is committed to enhancing human relationships and interactions through art.
在这个时代，有一群艺术家致力通过艺术增进人与人之间的距离。
Relational Aesthetics: Connecting people through art and making the audience a part of the artwork.
关系美学 (Relational Aesthetics)：指通过艺术把人们联系在一起，让访客成为作品的一部分。
“Relational Aesthetics” was first proposed by Nicolas Bourriaud in his 1997 book of the same title. The author defines relational aesthetics as “taking human interaction and its social context as the theoretical starting point, rather than emphasizing independent and private symbolic space.” The emergence of relational aesthetics is to explore the potential relationship and cultural context behind the social relationship text. It is about expanding the “potential” relationships that have not been shown behind culture or exploring new possibilities of relational existence.
“关系美学”在尼古拉斯.鲍里奥德(Nicolas Bourriaud)1997年在《关系美学》中提出，作者定义关系美学以“人类的交往互动及其社会语境作为理论的出发点，而不是从强调独立的、私有的象征空间的理论出发” 关系美学的出现是要探讨社会关系文本背后潜在文本和文化。展开文化背后未曾呈现出来的“潜在”关系，或者去发掘新的关系存在的可能性。
Representative works include a series of works by artist Rirkrit Tiravanija. The artworks created by this artist are not “artworks” in the traditional sense. In an interview, he clarified his concept: “What matters most is not what you see but what happens between people.” His works aim to attract people to participate in them, interact with them, and become involved.
代表性作品是艺术家Rirkrit Tiravanija的一系列作品。这位艺术家创作的作品不是传统意义上的“艺术品”，在一次访问中他阐明他的理念：“最重要的不是你所看到的，而是人与人之间发生的。”
艺术家通过不同艺术作品去增进人与人之间的合作协调，还有跟人的互动。他的作品是去吸引人去参与其中去，跟他作品产生互动和参与其中。
Untitled 1990 (pad thai) (1990)
United States, New York
美国，纽约
Paula Allen Art Museum
Paula Allen美术馆
Cooking traditional Thai dish “Pad Thai” in the museum and sharing it with the audience on-site
在艺术馆内烹调泰国传统料理Pad Thai与观众现场分享
Untitled 1995 (1995)
1995
United States, Pittsburgh, Pennsylvania
美国，宾西法尼亚州匹兹堡
Carnegie Museum of Art
卡内基美术馆
A wall covered in Thai curry recipes displayed in the museum while sharing the cuisine with visitors
在艺术馆展示一面写满泰国咖喱食谱的墙，一边与访客共享料理
Apartment 21 (Tomorrow Can Shut Up and Go Away) (2005)
2005
United Kingdom, London
英国，伦敦
Snake-shaped Gallery
蛇形画廊
Recreating his apartment and inviting the audience to enter the room and drink tea together
重现自己的寓所和邀请观众进去房间一起喝茶
“Untitled (Tilted teahouse with coffeemachine)” (2013)
2013
Australia, Tasmania
澳洲塔斯马尼亚
Creating a mirrored teahouse
创造镜子茶室
At the end of the article, the artist shares his thoughts on Relational Aesthetics: “For Asians, we live with our families, neighbors, and communities. Sharing is natural and part of our identity. In the West, people are passionate about real estate and enclose it as private property. Asians are open. We can build wall-less rooms and walk through them. We should preserve the cultural roots that shape us. I often tell my students that good art does not come from Google but from one’s roots and identity. With a bit of life experience, the art will be better.”
文章最后附上艺术家对“关系美学”（Relational Aesthetics)” 的想法：“对亚洲人来说，我们与家人、邻居、社群住在一起，家中大门总是开着的。与人分享的行为很自然，这是我的身份。在西方，人们热衷于房地产，当成私有品围封起来。亚洲人是开放的，我们可以搭建没有墙的房间，可以穿越，我们应该保留塑造我们的文化根源。我常跟学生说，好的艺术不是谷歌而来，而是来自一己的根源和身份认同。有点生活阅历，艺术创作才会好。”
