For all those interested in Relational Aesthetics…see: Bourriaud-Postproduction2 PDF


It is no longer a matter of starting with a “blank slate” or creating

meaning on the basis of virgin material but of finding a means of insertion

into the innumerable flows of production. “Things and thoughts,”

Gilles Deleuze writes, “advance or grow out from the middle, and that’s

where you have to get to work, that’s where everything unfolds.”01

The artistic question is no longer: “what can we make that is new?”

but “how can we make do with what we have?” In other words,

how can we produce singularity and meaning from this chaotic mass

of objects, names, and references that constitutes our daily life?

Artists today program forms more than they compose them: rather

than transfigure a raw element (blank canvas, clay, etc.), they remix

available forms and make use of data. In a universe of products for

sale, preexisting forms, signals already emitted, buildings already

constructed, paths marked out by their predecessors, artists no longer

consider the artistic field (and here one could add television, cinema,

or literature) a museum containing works that must be cited or “surpassed,”

as the modernist ideology of originality would have it, but

so many storehouses filled with tools that should be used, stockpiles

of data to manipulate and present.”


Double Hammonds

David Hammons, Bliz-aard Ball Sale, 1983