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Relational Behaviour - on Bourriaud’s Law of Relocation

“ This is what we might call the Law of Relocation. Art only exercises its critical duty with regard to technology from the moment when it shifts its challenges. So the main effects of the computer revolution are visible today among artists who do not use computers. On the other hand, those who produce so-called “ computer graphic” images, by manipulating synthetic fractals and images, usually fall into the trap of illustration. At best, their work is just symptom or gadget, or, worse still, the representation of a symbolic alienation from the computer medium, and the representation of their own alienation from methods dictated by production. So the function of representation is played out in behavioural patterns.” (Bourriaud, 1998: pp67-68)

Is Bourriaud unjust to say that “the main effects of the computer revolution are visible today among artists who do not use computers”? When so much work is made by artists who do use computer technology? Is there not inevitably a convergence between artistic spheres, as the majority look at these effects and respond? When it is inevitable that a convergence will take place, it is just a matter of when.

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Shezad Dawood - Piercing Brightness - Newlyn Art Gallery - 23 June - 29 September - 2012

Our society is not very good at understanding the polymath. We have to be 'one thing' rather than a collection of roles. As Sam Thorne writes in the catalogue accompanying this exhibition: "Living off the grid may be as simple as doing without gainful employment, an office, colleagues, contracts. These are, of course, all things associated with the figure of the artist." [1]

Rock of Ages, 2010, acrylic on vintage textile

courtesy Modern Art Oxford and Koenig Books London

Group Show - Unnatural - Natural History - Royal West of England Academy - 14 July - 23 September 2012

At least since the 1980's and the young British artists phenomenon, artists have been organising exhibitions of their own work. In the 1990's the 'curator' was born, perhaps because of the internet and new concerns about authenticity,'exhibition organiser' became a more caring, authoritative, legitimising and less invisible role. And so 'curating' has come to also mean organising exhibitions. This has opened a door to the radical and the innovative. The positive side to this is moving away from the 'themed' exhibition to a more sympathetically organised quality of show, although in the case of this exhibition the theme is the title.

Black and White cow by Geza Szollosi

courtesy Mauger Modern