teórie relačnej estetiky:

americans Hal Foster's situational aesthetics, 1982
Susanne Lacy's new genre public art, 1993
Suzy Gablik's: connective aesthetics, 1995
Grant Kester's dialogical aesthetics, 2000
deutsch Peter Weibel's Kontextkunst, 1993
french Nicolas Bourriaud's relational aesthetics, 1995
austrian Christian Kravagna's participatory practice, 1998

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Hal Foster's situational aesthetics, 1982
in essay Subversive Signs, in: Art in America, November 1982, pg. 88-93:
"The most provocative American art of the present is situated at such a
crossing�of institutions of art and political economy, of
representations of sexual identity and social life. More, it assumes its
purpose to be so sited, to lay in wait for these discourses so as to
riddle and expose them or to seduce and lead them astray. Its primary
concern is not with the traditional or modernist proprieties of
art�with refinement of style or innovation of form, aesthetic
sublimity or ontological reflection on art as such. And though it is
aligned with the critique of the institution of art based on the
presentational strategies of the Duchampian readymade, it is not involved,
as its minimalist antecedents were, with an epistemological investigation
of the object or a phenomenological inquiry into subjective response. In
short, this work does not bracket art for formal or perceptual experiment
but rather seeks out its affiliations with other practices (in the culture
industry and elsewhere); it also tends to conceive of its subject
differently."
excerpt: home.att.net/~AllanMcNYC/Hal_Foster.html

Peter Weibel's Kontextkunst, 1993
in essay in exhibition catalogue Kontext Kunst. Kunst der 90er Jahre,
1993, Neue Galerie Graz (exhibition then moved to Cologne in 1994).
highly contested by particularly the Cologne-based leftist art scene.
German parallel to the so-called 'relational aesthetics' but more
programmatically political and academic.

Susanne Lacy's new genre public art, 1993
in essay Cultural Pilgrimages and Metaphoric Journeys', In: Public Art
Review, Spring/Summer 1993 and Summer/Fall 1993.
evolved in book Mapping The Terrain: New Genre Public Art, Bay Press, 1995:
"For the past three or so decades visual artists of varying backgrounds
and perspectives have been working in a manner that resembles political
and social activity but is distinguished by its aesthetic sensibility.
Dealing with some of the most profound issues of our time - toxic waste,
race relations, homelessness, aging, gang warfare, and cultural identity -
a group of visual artists has developed distinct models for an art whose
public strategies of engagement are an important part of its aesthetic
language. The source of these artworks' structure is not exclusively
visual or political information, but rather an internal necessity
perceived by the artist in collaboration with his or her audience.
We might describe this as 'new genre public art', to distinguish it in
both form and intention from what has been called 'public art' - a term
used for the past twenty -five years to describe sculpture and
installation sited in public spaces. Unlike much of what has heretofore
been called public art, new genre public art - visual art that uses both
traditional and nontraditional media to communicate and interact with a
broad and diversified audience about issues directly relevant to their
lives - is based on engagement."

Nicolas Bourriaud's relational aesthetics, 1995
in essay 'An Introduction to Relational Aesthetics', in Traffic
(catalogue), Bordeaux: CAPC Musée d' Art Contemporain, 1995.
evolved in book Esthétique relationelle (1998).
basic material of these artists are human relations, and they stress
social exchange, thematise communication processes and interact with the
spectator.
my notes from reading: dusan.idealnypartner.sk/notepad/postprod.htm

Suzy Gablik's connective aesthetics, 1995
in book Conversations Before the End of Time, Thames & Hudson, September
1995 (but not sure if really in this one).
modern aesthetics with its emphasis on individualism and the separation of
art from life makes audiences into detached observers and spectators.
"Such art can never build community" but artists are finding "ways of
weaving environmental and social responsibility directly into their work".

Christian Kravagna's participatory practice, 1998
in Modelle partizipatorischer Praxis In Die Kunst des Öffentlichen, edited
by Marius Babias & Achim Könneke, Amsterdam and Dresden: Verlag der Kunst,
1998.
four different working methods in contemporary art concerned with human
interaction may be useful - 'working with others', interactive activities,
collective action, and participatory practice.
builds upon sociologist Ulrich Beck's notion of 'Bürgerarbeit' (citizen's
work).

Grant Kester's dialogical aesthetics, 2000
in essay Dialogical Aesthetics: A Critical Framework for Littoral Art,
Variant 2:9 (Winter 2000) (Scotland).
socially engaged art through creative dialogue that crosses boundaries of
race, religion, and culture.
builds upon conceptual art and feminist performance art of the 60s-70s,
Bakhtin, Habermas.
source: www.variant.randomstate.org/9texts/KesterSupplement.html