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Ragnar Kjartansson, The Visitors, 2012, nine-channel HD video projection, color, sound, 64 minutes.

Ragnar Kjartansson

Luhring Augustine | Chelsea

Ragnar Kjartansson, The Visitors, 2012, nine-channel HD video projection, color, sound, 64 minutes.

As it has threaded itself into the fabric of contemporary practice and discourse over the past decade and a half, the notion of “relational aesthetics” has come, fairly or not, to be almost exclusively associated with efforts to reimagine the sociospatial contexts of spectatorship, often taking the form of situations staged to conduce interactions that become literally constitutive of the works themselves—the gallery repurposed as dining table, as laboratory, as factory, as seminar room, as town hall. In truth, this is probably due as much to the way Nicolas Bourriaud’s original conception was framed by later deployments (and well-known critical kneecappings) as to anything explicit in his relatively capacious gathering-in of what he’s summarized variously as “artistic practices which take as their theoretical and practical point of departure the whole of human relations and

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