Fair Play: Art, Performance and Neoliberalism (Performance Interventions)

what they say about contemporary culture, what they can actually do for audiences, and what they can offer contemporary social relations.

Bourriaud makes several very important contributions to understandings of the form in Relational Aesthetics. He enumerates and details the trend in visual, sculptural and installation art, discussing many vivid examples in detail. He sets it within art historical and theoretical contexts. And he argues for what he sees it achieving. While it does n

two of the main ‘costs of inequality’ are ‘community life and social relations’ and ‘social mobility’ (Wilkinson and Pickett, 2010).

to extend this invitation to engage socially very widely, across all audiences equitably, perhaps even democratically.

These subsequent chapters often look at a greater range of art and performance beyond the participatory forms outlined above and in Chapter 1, because they ask how participation in culture is more broadly and fundamentally affected not just by artistic practices but also by policy-making, spatial organization and arts funding.

exclusivity rather than inclusivity,

We need some ‘fellow feeling’, some social sympathy, to check unreserved self-interest.

socially – by inviting those audiences to participate, act, work and create together; observe one another; or simply be together. This

seem to offer widespread constructive social engagement, with participants communicating, collaborating, co-creating and mutually supporting one another.