Gelatin’s practice incorporates the codes of relational aesthetics and invented a sculptural language and approach that is anarchic and irreverent.

Their work has anticipated the codes of relational aesthetics and invented a sculptural language and approach to installation that are anarchic and irreverent.

See Relational Aesthetics (1998), a cult essay by art critic Nicolas Bourriaud in which he exposes the way in which certain contemporary artistic practices contribute to the emergence of a “relational society”.

Very obvious to mention in this context is Nicolas Bourriaud’s essay Relational Aesthetics.

Aesthetic theory consisting in judging artworks on the basis of the inter-human relations which they represent, produce or prompt.

Relational Aesthetics: Aesthetic theory consisting in judging artworks on the basis of the inter-human relations which they represent, produce or prompt.(see co-existence criterion)

Each object will be displayed as a work of art, whose only inherent value lies in its capacity to crystallize a relational aesthetic experience.

Aesthetic theory consisting in judging artworks on the basis of the inter-human relations which they represent, produce or prompt.

He describes this approach as an "aesthetic theory consisting in judging artworks on the basis of interpersonal relations they are supposed to reveal, produce or arouse".

Kontextkunst is, if you wish a German parallel to the so-called 'relational aesthetics' but more programmatically political and academic.

In particular, in order to operate successfully in the luxury world it is necessary to focus on two different macro dimensions: the professional and the aesthetic-relational dimensions.

In this way, Thomas Tronel-Gauthier sets the viewer at the heart of an interpersonal aesthetic experiment, at the level of the universe, in a spatial and temporal relationship that is decidedly unique.

Gao’s artistic endeavours are never forced attempts to pursue the so-called “social intervention” or “relational aesthetics” propositions.

In particular, in order to operate successfully in the luxury world it is necessary to focus on two different macro dimensions: the professional and the aesthetic-relational dimensions.

Without knowing it, you were part of a “pre”-Relational art movement, even though Nicolas Bourriaud published his eponymous work, which studied this obsession for the interactive, in 1998.