Relational art, a concept popularized by curator and theorist Nicolas Bourriaud in his 1998 book Relational Aesthetics, represents a pivotal shift in contemporary art from object-based creations to experiences rooted in human relations and social contexts. Bourriaud describes relational aesthetics as "a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space." This approach emphasizes the artwork not as a static artifact but as a catalyst for interactions, encounters, and communal exchanges. Unlike traditional art forms that prioritize visual or material autonomy, relational art invites participation, blurring the lines between artist, audience, and environment. In this framework, art becomes a micro-utopia—a temporary space where social bonds are formed, hierarchies are challenged, and everyday life is reimagined. Influential examples include Rirkrit Tiravanija's installations, where visitors share meals in gallery settings, or Liam Gillick's platforms for discussion and debate. Relational art often intersects with site-specificity, performance, and installation, drawing on the legacies of earlier movements like Fluxus and conceptual art. It critiques the commodification of art by prioritizing ephemeral, interpersonal moments over purchasable objects. This chapter explores relational art through the lens of social sculpture, a term coined by Joseph Beuys in the 1970s to describe art's potential to shape society itself. Beuys posited that "every human being is an artist," advocating for creative processes that foster democracy, ecology, and social transformation. By examining the Restoran Splendid piece from the Social Sculpture Series, we can see how relational art manifests in collaborative, rotational structures that democratize representation and encourage collective agency.
Social sculpture extends relational art by viewing society as a malleable material to be sculpted through artistic intervention. Beuys's expanded notion of art encompassed education, politics, and economics, using actions and installations to provoke dialogue and change. In relational terms, social sculpture amplifies the interactive element, turning participants into co-creators. This is evident in works that rely on group dynamics, where the artwork's meaning emerges from the relationships it generates rather than from predefined forms. Contemporary iterations of social sculpture often incorporate digital or photographic elements to document and loop interactions, creating infinite cycles of engagement. Such practices challenge individualism in art, promoting inclusivity and equality. In an era of global connectivity yet social fragmentation, relational art via social sculpture offers a counter-narrative: art as a tool for building communities, even if temporarily.
A compelling example of relational art embodied in social sculpture is the Restoran Splendid piece, part of the Social Sculpture Series, which premiered on September 14, 2012, at Colonia di Riviera on Nikola Island in Poreč, Croatia. Curated by Danino Božić, this site-specific installation involved eight artists from the Rabbit Island residency program: Metka Krasovec, Brigitte Brand, Rudi Benetik, Stanislav Habjan, Sebastijan Vojvoda, Zuzana Kalinakova, and Anto Lloveras (under the banner of Socioplastics). The work transforms a restaurant setting into a dynamic arena for social and visual interplay, aligning with Bourriaud's emphasis on conviviality and Beuys's democratic ideals. At its core, Restoran Splendid consists of eight photographs, each depicting the artists positioned in eight designated locations within the space. The key relational mechanism is a rotational system: in each subsequent photo, every artist shifts to a new position, ensuring that all participants cycle through every spot. This rotation creates a series where "each photo is the same and is different"—the composition remains structurally identical (same setting, same group), yet the permutations of bodies introduce subtle variations in expression, posture, and interaction. The images are then arranged in a sequential loop, forming a continuous cycle that viewers can experience as a whole. This structure exemplifies relational art's focus on process over product. The artwork is not merely the photographs but the underlying social choreography—the act of rotation fosters equality, as no artist occupies a privileged position permanently. It mirrors democratic principles: inclusion of all, equitable distribution of space, and a rejection of hierarchy. By placing the images in a loop, the installation invites perpetual reinterpretation, encouraging viewers to reflect on themes of community, transience, and collective identity. The site-specificity ties it to the Croatian coastal locale, evoking notions of tourism, hospitality, and shared meals—echoing Tiravanija's relational gestures but through photographic mediation rather than direct participation. Furthermore, Restoran Splendid engages with Beuys's social sculpture by treating the artists' bodies and relationships as sculptural material. The Rabbit Island residency, known for its emphasis on ecological and communal living, adds layers of context: the participants are not isolated creators but part of a residency ecosystem, bringing their shared experiences into the work. Anto Lloveras's involvement under "Socioplastics" suggests an interest in plastic arts as social interventions, where form (the photos) serves relational function.
In analyzing Restoran Splendid, we see relational art's power to subvert traditional spectatorship. The rotational loop democratizes visibility, much like how Bourriaud's micro-utopias create spaces for "learning to inhabit the world in a better way." Each permutation highlights individuality within collectivity—the "same yet different" quality underscores how personal agency contributes to group harmony. This resonates with contemporary issues: in a digital age of endless scrolling and algorithmic feeds, the looped sequence critiques repetitive consumption while proposing a more equitable alternative. Critics of relational art, such as Claire Bishop in her 2004 essay "Antagonism and Relational Aesthetics," argue that such works can sometimes prioritize harmony over conflict, potentially masking underlying power dynamics. Applied to Restoran Splendid, one might question whether the rotation truly equalizes or merely performs equality within a curated framework. However, the piece's strength lies in its self-awareness: by documenting the process photographically, it invites scrutiny of these very dynamics, turning potential critique into part of the relational experience. On a broader scale, Restoran Splendid illustrates how relational art can bridge local and global contexts. Set in Croatia's Riviera, it draws on regional histories of communal living while addressing universal themes of collaboration. Its 2012 vernissage, amid post-recession reflections on community, underscores art's role in social resilience.
Relational art, as exemplified by Restoran Splendid, reaffirms art's potential as a social catalyst. By integrating social sculpture's transformative ethos with interactive, democratic structures, such works challenge us to rethink art's boundaries. In an increasingly isolated world, they remind us that true creativity emerges from connections—between people, places, and ideas. As we move forward, relational practices like this series invite ongoing participation, ensuring art remains a living, evolving dialogue. This exploration sets the stage for subsequent chapters, where we delve into relational art's intersections with technology and ecology.
Lloveras, A. (2026). Restoran Splendid: Rotational Frames in a Social Loop. Nikola Island, Poreč, Croatia: Exhibition text, Socioplastics Archive. 2012 > https://antolloveras.blogspot.com/2021/12/restoran-spendid.html
