Artist as a Producer“Relations of Production” as an Art Project

• Main Authors: Kuei-Pi Li, 李奎壁
• Other Authors: Hong-John Lin
• Format: Others
• Language: zh-TW
• Published: 2017
• Online Access: http://ndltd.ncl.edu.tw/handle/ze5p97

碩士 === 國立臺北藝術大學 === 美術學系碩士班創作組 === 105 === The definition of art has been challenged and pushed. Since the last century, artists have been unsatisfied with making art that is only to be looked at. They have aspired to make art that provides opportunities for people, communities and institutions of different sorts to encounter each other. In 1998, the concept of Relational Aesthetics was formulated for the first time, coining it as a new wave of new art production that views relationship as an art form. Artists are no longer merely consumers of historic or art materials, they can also be producers of social spaces. Furthermore, artists are no longer just producers of linear and simple relations, but can also be agents to demonstrate complex production networks in all kinds of places. Can we have a more precise angle to look at the language of relational art today? When new relationships are created in art projects, and examined in “games" (in Marcel Duchamp’s sense), how do artists (as producers) utilize the established production relationships as tools for making art? I try to examine art production by looking at the technological development of art. In this article, I’m going to blend in records about other art producers from my past art project, and words that came out of my past project as conceptual derivatives. Finally, I will come up with a conclusion about the troubles that modern art has faced while dealing with production relationships and the value of “production” itself.