The form of an artwork issues from a negotiation with the intelligible, which is bequeathed to us. Through it, the artist embarks upon a dialogue. The artistic practice thus resides in the invention of relations between consciousness. Each particular artwork is a proposal to live in a shared world, and the work of every artist is a bundle of relations with the world, giving rise to other relations and so on and so forth, ad infinitum. (1)
I felt as though this helped to explain why my initial experience was not as interesting as my second visit to the exhibit. I realized that I did not fully allow a dialogue to take place with the art itself. I was too caught up in other things to have a full encounter with the art, and forgot to uphold my part of the relational art experience, thus was not able to fully engage with the work.
I was pleasantly surprised by how much I appreciated the coverage of the exhibit on the MOMA’s website. It definitely serves as an extension of the exhibit itself. I found that I have watched the live stream of the performance from time to time, and am always immersed in footage. I appreciate how we are able to access the website in order to reunite with the relational experiences that we first encountered at the exhibit. It also made me wonder at which point the interactive aspects of the website were incorporated into the exhibit overall (was this first considered by Abramovic during the initial conception of the exhibit, or was it primarily designed by the MOMA?).
- Stephanie Class
(1) Bourriaud, Nicholas. Relational Aesthetics. Pg. 22.