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same time remains completely disinterested. A presentation with a purpose, such
as a personal interest or a practical use, may taint the objectivity, universality and
communicability of the individual’s pleasure. Indeed, presentations marked by a
definite purpose can never be beautiful but remain merely "agreeable." Once
these conditions have been met, the individual has the right to require the same
pleasure from everyone and can therefore claim universal assent. As Kant
elaborates, "the principle of judging validly for everyone from subjective bases is
correct." 1 By making aesthetic judgements, the individual can claim to be part of
a universal community.
Reflecting Haaning’s description of the internet, the subject of Kantian aesthetics
remains "alone together with other people." Since the ability to judge beauty is a
shared sense, there is no need to ask other people if they agree that the given
presentation is indeed beautiful. Similarly, individuals can wander through a public
museum and simply assume that others share their aesthetic judgements and
pleasure without directly questioning them. The public museum also promotes
judgements and pleasure by cutting off the "presentations" from any purpose with
frames, pedestals, security guards and "do not touch" signs. The Kantian subject,
however harmless it appears, should not be underestimated since Kant effectively
makes beauty the exclusive property of a universal community. Judgements and
pleasures that prove to be tainted by particular tastes do not describe "beautiful"
presentations but merely "agreeable" ones. By extension, the community realised
automatically loses its universality, although many will continue to exercise their
right to claim assent from others.
II.
In many ways, Haaning’s work can be seen as an elaborate attack on the program
of Kantian aesthetics, both from within and beyond the walls of the public museum.
Occasionally, Haaning seems to play both sides, systematically reaffirming Kant’s
arguments while refuting their universal claims. First, as a proponent of relational
aesthetics, 2 Haaning replaces the art work — the "presentation" in Kantian terms —
with a set of active relations. One may consider the project Foreigners Free (1997,
2001), which waived entrance fees for foreign visitors at several museums, or even
Travel Agency (1997), which transformed a gallery into a sales office for aeroplane
tickets. In this case and others, the art work involves an interaction and actually
remains incomplete without the participation of several individuals. The singular
judging subject becomes a plurality of individuals who are forced to interact, to
speak with each other and even to exchange opinions, if not goods. The moment of
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