El arte relacional como herramienta en la gestión de públicos en los museos de Lima

In the nineties, experts in artistic research began to address relational aesthetics from the studies of theFrench esthete Nicolas Bourriaud. One of the most important principles of this aesthetic current is that theobject of study of art do not focus on the artistic object, but on the bond that is generated between the artistic object and the public; thus gaining a close relationship between the subject, object (work of art) and artist. These ideas are gestated from precepts such as those of Pierre Bourdieu in which he indicates that current art is a space of objective relationships between positions, which also shows that the artistic work functions as a relational device. This article is based on a museum management proposal through the use of Relational Art, understood as a tool to improve relations between the community and make them active members of the museum. Relational art (through proposals such as performance, art and improvisation) has provided, in the last years, tools that enable the cultural worker to subsequently develop educational programs, workshops, exhibitions that contemplate not only the artist, but also the art critic and art history student; but to the general public.