Hal Foster asks what art museums are for

http://www.lrb.co.uk/v37/n06/hal-foster/after-the-white-cube

Relational Aesthetics van Nicolas Bourriaud doet ondermeer de vraag rijzen hoe musea inspringen op de veranderingen binnen het domein van de beeldende kunst. Sinds begin jaren 90 is volgens Bourraud een duidelijke evolutie waarneembaar. Daar waar kunst zich aanvankelijk verhield tot het object verschoof deze naar intermenselijke relaties: ontmoetingen, performances en participatie met het veld buiten de beeldende kunst: hoe kunnen mensen zo goed mogelijk leven.

Yet there is nothing definitive about it: well-regarded artists who have emerged over the last twenty years, such as Pierre Huyghe, Rirkrit Tiravanija and Tino Sehgal among many others, don’t require such space, and in many ways refuse it.

Een post op FB leverde het volgende commentaar van Josephine Bosma (journalist en kunstcritica) op:

He stops where it gets interesting and does not mention why this issue is so relevant right now. Would his conclusion about the role of museums be this way without the rise of new media networks? “A central role of the museum is to operate as a space-time machine in this way, to transport us to different periods and cultures – diverse ways of perceiving, thinking, depicting and being – so that we might test them in relation to our own and vice versa, and perhaps be transformed a little in the process.”