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Nicolas Bourriaud Postproduction

Nicolas Bourriaud Postproduction

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Published by Daphanie Mende

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Published by: Daphanie Mende on Feb 12, 2013
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N
ICOLAS BOURRIAUD
POSTPRODUCTION
CULTURE AS SCREENPLAY: HOW ART REPROGRAMS THE WORLD
11
HAS
&
STERNBERG, NEW YORK
 
Nicolas BourriaudPostproductionPublisher: Lukas & Sternberg, New York © 2002 Nicolas Bourriaud, Lukas & SternbergAll rights reserved, including the right of reproduction in whole or in part in any form.First published 2002 (0-9711193-0-9)Reprinted with new preface 2005Editor: Caroline SchneiderTranslation: Jeanine HermanCopy Editors: Tatjana Giinthner, Radhika Jones, John KelseyDesign: Sandra Kastl, Markus Weisbeck, surface, Berlin /FrankfurtPrinting and binding: Medialis, BerlinISBN 0-9745688-9-9Lukas & SternbergCaroline Schneider1182 Broadway #1602, New York NY 10001LinienstraBe 159, D-10115 Berlinmail@lukas-sternberg.com, www.lukas-sternberg.com
CONTENTSPREFACE TO THE SECOND EDITIONINTRODUCTIONTHE USE OF OBJECTS
THE USE OF THE PRODUCT FROM MARCEL DUCHAMPTO JEFF KOONSTHE FLEA MARKET: THE DOMINANT ART FORM OF THENINETIES - -,.- •-.
THE USE OF FORMS
DEEJAYING AND CONTEMPORARY ART: SIMILAR
CONFIGURATIONS
WHEN SCREENPLAYS BECOME FORM: A USER'S GUIDETO THE WORLD . .
THE USE OF THE WORLD
PLAYING THE WORLD: REPROGRAMMING SOCIAL FORMSHACKING, WORK, AND FREE TIME
HOW TO INHABIT GLOBAL CULTURE(AESTHETICS AFTER MP3)
6969
 
I
PREFACE TO THE SECOND EDITION
Since its initial publication in 2001,
Postproduction 
has been trans-lated into five languages; depending on the translation schedules invarious countries, publication either overlapped with or preceded thatof another of my books,
Esthetique relationnelle 
(Relational Aesthetics),written five years earlier. The relationship between these two theoret-ical essays has often been the source of a certain misunderstanding,if not malevolence, on the part of a critical generation that knows itselfto be slowing down and counters my theories with recitations from"The Perfect American Soft Marxist Handbook" and a few vestiges ofGreenbergian catechism. Let's not even talk about it.I started writing
Relational Aesthetics 
in 1995 with the goal of findinga common point among the artists of my generation who interestedme most, from Pierre Huyghe to Maurizio Cattelan by way of GabrielOrozco, Dominique Gonzalez-Foerster, Rirkrit Tiravanija, VanessaBeecroft, and Liam Gillick - basically, the artists I had assembled inan exhibition called
Traffic 
at the CapcMusee d'art contemporain inBordeaux (1996). Each of these artists developed strangely similarthemes, but they were not a topic of real discussion, since no one atthe time saw these artists' contributions as original and new. In searchof the common denominator, it suddenly occurred to me that therewas a new thematic framework for looking at their works. I realized thatevery one of them without exception dealt with the interhuman sphere:relationships between people, communities, individuals, groups, socialnetworks, interactivity, and so on. In its time, Pop Art was born of aconjunction between the phenomenon of mass production and thebirth of visual marketing, under the aegis of a new era of consump-tion.
Relational Aesthetics 
was content to paint the new sociopoliticallandscape of the nineties, to describe the collective sensibility onwhich contemporary artistic practices were beginning to rely. The suc-cess of this essay, which - alas - has at times generated a sort of cari-catured vulgate ("artists-who-serve-soup-at-the-opening," etc.), stemsessentially from the fact that it was a "kick start" to contemporary

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