FRENCH CURATOR AND ART CRITIC. HE CO-FOUNDED, AND FROM 1999 TO 2006 WAS CO-DIRECTOR OF, THE PALAIS DE TOKYO, PARIS TOGETHER WITH JERÔME SANS. HE WAS ALSO FOUNDER AND DIRECTOR OF THE CONTEMPORARY ART MAGAZINE DOCUMENTS SUR L'ART (1992-2000), AND CORRESPONDENT IN PARIS FOR FLASH ART FROM 1987 TO 1995. BOURRIAUD WAS THE GULBENKIAN CURATOR OF CONTEMPORARY ART AT TATE BRITAIN, LONDON, AND IN 2009 HE CURATED THE FOURTH TATE TRIENNIAL THERE, ENTITLED ALTERMODERN. RELATIONAL AESTHETICS (1998/ENGLISH VERSION 2002) AND POSTPRODUCTION (2001). RELATIONAL AESTHETICS IN PARTICULAR HAS COME TO BE SEEN AS A DEFINING TEXT FOR A WIDE VARIETY OF ART PRODUCED BY A GENERATION WHO CAME TO PROMINENCE IN EUROPE IN THE EARLY 1990S. IN POSTPRODUCTION (2001), BOURRIAUD RELATES DEEJAYING TO CONTEMPORARY ART. HE LISTS THE OPERATIONS DISCJOCKEYS APPLY TO MUSIC AND RELATES THEM TO CONTEMPORARY ART PRACTICE. CROSSFADING, PITCH-CONTROL, RAPPING/ MCING, CUTTING, PLAYLISTS.
FRENCH CURATOR AND ART CRITIC. HE CO-FOUNDED, AND FROM 1999 TO 2006 WAS CO-DIRECTOR OF, THE PALAIS DE TOKYO, PARIS TOGETHER WITH JERÔME SANS. HE WAS ALSO FOUNDER AND DIRECTOR OF THE CONTEMPORARY ART MAGAZINE DOCUMENTS SUR L'ART (1992-2000), AND CORRESPONDENT IN PARIS FOR FLASH ART FROM 1987 TO 1995. BOURRIAUD WAS THE GULBENKIAN CURATOR OF CONTEMPORARY ART AT TATE BRITAIN, LONDON, AND IN 2009 HE CURATED THE FOURTH TATE TRIENNIAL THERE, ENTITLED ALTERMODERN. RELATIONAL AESTHETICS (1998/ENGLISH VERSION 2002) AND POSTPRODUCTION (2001). RELATIONAL AESTHETICS IN PARTICULAR HAS COME TO BE SEEN AS A DEFINING TEXT FOR A WIDE VARIETY OF ART PRODUCED BY A GENERATION WHO CAME TO PROMINENCE IN EUROPE IN THE EARLY 1990S. IN POSTPRODUCTION (2001), BOURRIAUD RELATES DEEJAYING TO CONTEMPORARY ART. HE LISTS THE OPERATIONS DISCJOCKEYS APPLY TO MUSIC AND RELATES THEM TO CONTEMPORARY ART PRACTICE. CROSSFADING, PITCH-CONTROL, RAPPING/ MCING, CUTTING, PLAYLISTS.
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