Research Paper on:
Nicolas Bourriaud's Relational Aesthetics and Carsten Holler's Artistic Production

Unformatted Sample Text from the Research Paper:
piece and the viewer of the art. Artists who use the ideas of relational aesthetics in their works allow not only the viewers to participate in the understanding of the  production but also make them question the "use" rather than the meaning. Carsten Holler is an artist who very much uses the open interaction of relational aesthetics in his pieces.  His works involve much of his understanding of behaviorism and utilitarianism. Many of his pieces includes elements of humans in motion and in love which questions the motives of these  actions. In addition to providing viewers with a relational context and utility, Holler also uses a great deal of humor and irony in his work which allows the viewer to  participate in his idea to provide the viewer with "a degree of freedom and relief, however momentary it may be". Nicolas Bourriaud,  the codirector of the Palais de Tokyo art center in Paris, was a young art critic during the 1990s when he developed his theory of "relational aesthetics" which he felt  was emerging in the works of the modern artists at the time. Bourriaud was greatly influenced by "critical arts focus on the sphere of reception, which had newly privileged questions  of site and audience, and on the social network of art itself" (Simpson, 2001, p. 47). Bourriaud in regards to relational aesthetics had studied such artists as Vanessa Beecroft, Philippe  Parreno and Rirkrit Tiravanija in order to understand and conceptualize the "criterion of coexistence" in his relational aesthetics theory. Essentially, Bourriaud admits that the ideas of art are evolving all  of the time but in many ways they are also reflective of the time in which they were made and the fact that those people viewing the art also have