İdil Sanat ve Dil Dergisi
Cilt 10, Sayı 77  Ocak 2021  (ISSN: 2146-9903, E-ISSN: 2147-3056)
Ali Ertuğrul KÜPELİ

NO Makale Adı

When considered as an artistic process, art questions the art problematism of the audience in the place of consumer, where the boundaries between art and real life are blurred, and the connection between them through the work of art. Art forms the precursors of fictions where the distant and uncertain relationship between the work and the audience is centered on mutual communication with new artistic approaches as an intervener/participant in artistic practice. In the first quarter of the 20th century, it is realized that the audience should be included in the work in order to remove the boundaries in the formative process of the work of art by taking an opposing attitude on the strict boundaries of the artist and the art work. As a matter of fact, the process that started with avantgarde formations in the early 1900s completely changed the nature of the relationship between the art work and the audience with the artistic practices of the 1960s. In the 1990s, the increasingly widespread audience-oriented participatory art practices initiated a period in which the audience was interactively involved in the performance and evolved into relationality with new approaches with active participation. In this direction, while the changing art practices in the historical process of Performance Art have evolved into new trends, placing the audience in a participatory/active position, the formation of relational-oriented new expressions will be examined in the context of relational aesthetics, the roles of artist-art work-audience interaction and new artistic understanding and formations. The idea of “togetherness” realized by participatory art according to the changing roles and practices of the audience creates a state of collective consciousness by providing an environment of socialization. Within the scope of the research, by reviewing the literature, document analysis was used as a data collection technique. In the light of the collected data, the relationality dimension of participatory art practices and the similarities, distinctions, interactions, and connections between concepts and subjects were tried to be clarified between these art formations. As a result of the research, it is seen that performance art provides a multi-disciplinary environment where the audience participates in the artistic production process, interacts and actively participates in contrast to modern art movements.

Keywords: Relational art, viewer and participator, performance art, relationality