Douglas Gordon, 24 Hour Psycho
What implications does this have for us - studying the production of experimental/alternative media and art within the context of a program grounded in documentary and fiction filmmaking ("the cinema") - and for media arts in general? The natural progression of the ideas of "incorporation" and "relational art" leads to dialogue. While Bourriaud's conception of "relational" work stresses the involvement of a social context, media artworks embracing this same concept often form dialogues with the mainstream cinema. Past generations of media artists (in particular, the artists of the 1960s and earlier that Bourriaud's work attempts to break with) avoided the subject entirely, placing themselves in radical opposition to the mainstream; artists of the "relational" generation (such as Douglas Gordon, above) are much more willing to interact with, borrow from or make use of Hollywood and the like. How can we, as emerging media-makers, make use of this same concept in our works? Do we still exist in a period of "relational" art-making - or are we moving on to a next step?
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