TAILIEUCHUNG - Antagonism and Relational Aesthetics

The former is most simply described as a black animal with a white chest, the latter as a black animal with a white flash on its flank. Black-and-white configurations provide strong contrasts. Buxton offered an explanation of the appeal of such contrasts, noting (1973: 7) that ‘marking and patterning are very highly estimated in the Mandari visual aesthetic; and the strong contrast markings of black on white, red on white, or a combination of all three, stand out so strikingly in a landscape devoid of strong colour that the importance given to it can be readily understood’. Such an explanation. | Antagonism and Relational Aesthetics CLAIRE BISHOP The Palais de Tokyo On the occasion of its opening in 2002 the Palais de Tokyo immediately struck the visitor as different from other contemporary art venues that had recently opened in Europe. Although a budget of million euros was spent on converting the former Japanese pavilion for the 1937 World s Fair into a site for contemporary creation most of this money had been used to reinforce rather than renovate the existing Instead of clean white walls discreetly installed lighting and wooden floors the interior was left bare and unfinished. This decision was important as it reflected a key aspect of the venue s curatorial ethos under its codirectorship by Jerome Sans an art critic and curator and Nicolas Bourriaud former curator at CAPC Bordeaux and editor of thejournal Documents sur I art. The Palais de Tokyo s improvised relationship to its surroundings has subsequently become paradigmatic of a visible tendency among European art venues to reconceptualize the white cube model of displaying contemporary art as a studio or experimental laboratory. 2 It is therefore in the tradition of what 1. Palais de Tokyo promotional and Website site de creation contemporaine http 2. For example Nicolas Bourriaud on the Palais de Tokyo We want to be a sort of interdisciplinary kunstverein more laboratory than museum quoted in Public Relations Bennett Simpson Talks with Nicolas Bourriaud Artforum April 2001 p. 48 Hans Ulrich Obrist The truly contemporary exhibition should express connective possibilities and make propositions. And perhaps surprisingly such an exhibition should reconnect with the laboratory years of twentieth-century exhibition truly contemporary exhibition with its striking quality of unfinishedness and incompleteness would trigger pars pro toto participation Obrist Battery Kraftwerk and Laboratory in Words of Wisdom A Curator s Vade Mecum on Contemporary Art .

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