- Volume 18 Issue 6
DOI QR Code
Collaborative Dispositions of Participatory Arts in Contemporary Practices -Based on Nicolas Bourriaud's Notion of Postproduction-
동시대 예술 형식의 상호성과 공유 가능성 -니콜라 부리오의 포스트프로덕션 개념을 중심으로-
- 백영주 (중앙대학교 공연영상창작학부)
- Received : 2018.03.27
- Accepted : 2018.06.12
- Published : 2018.06.28
The collective narratives on global crisis such as the displaced, uneven distribution of resources, invasion of human rights is more than a recurring theme or polemics in the fields of contemporary arts. In the latest projects from Olafur Eliasson, Rirkrit Tiravanija and Ai WeiWei, art works are presented as performative 'platforms' for tackling these undiscriminating reality of human conditions. Here, 'the users' as driving forces of possible change, are postulated as prospective actors/players who lead and collaborate to defy the status-quo. Crossing over the on/off lines, the everyday-activities of exchanging, sharing and networking are strategically deployed and its meaning reconfigured within the context of post/production discourse. This historical, yet unsettling juncture between art and life, dystopian reality and utopian idealism has its formal-conceptual links to Russian Constructivism, Brechtian Learning-Play and Joseph Beuys' Social Sculpture. Based on Nicolas Bourriaud's notion of Postproduction, this paper aims to provide a diachronic analysis on collaborative dispositions of participatory arts practices.
- Nicolas Bourriaud, Relational Aesthetics, Le Presse Du Reel, 1998.
- Nicolas Bourriaud, Postproduction, Lukas & Sternberg, 2002.
- Ales Erjavec 편, Aesthetic Revolutions, Duke University Press, 2015.
- P. Lee, Chronophobia: On Time in the Art of the 1960s, MIT press, 2006.
- Nicolas Bourriaud 저, E. Butler 역, The Exform, Verso, 2016.
- 조주은, "인터넷의 상호성이 확장한 인간관계의 상호성, 그리고 참여적 콘텐츠의 가능성," 인문콘텐츠학회논문지, 제46호, pp.225-278, 2016.
- Claire Bishop, Artificial Hells, Verso, 2012.
- Phoebevon Held, Alienation and Theatricality: Diderot After Brecht, Routledge, 2011.