What is Neo-Situationism? I'm not sure. But my brief reading of the interview cited above leads me to belief that it shares many common threads with Bourriaud's call for radicantity, with one key addition; the inclusion of the multicultural insistence on subjectivity found in postmodern thought. McKee brings up a valid point in the above exerpt; he brings our attention to Bourriaud's insistance on the act rather than the result. The "what Tiravanija cooks, how and for whom" is just as important, if not more, than the fact that he gives out the results of his labors for free-- after all, there is a great deal of precedent of this type of artistic activity; giving out pieces of the art itself, the act of which becomes the art. Felix Gonzalez-Torres is an example of an artist who used these techniques in the late 80's and early 90's. With this in mind, I am left wondering if Bourriaud considers the who how and what of Tiravanija's work to be examples of Radicantity, or if it is simply the where and when that he considers relevant to his discussion.
On page 107, Bourriaud askes the poignant question, "How can one become the explorer of a world now covered by satellites, a world whose every millimeter is now registered and surveyed?" In the following paragraphs, he goes on to answer himself, implying that one can be an explorer in a well-charted world by mixing reality with imagination and fiction. Huyghe is used as an an example of such an explorer. Of him, Bourriaud states the "Imagination and fiction enable Huyghe to open up free spaces in the real geography he traverses."
In this section Bourriaud cites the work of many artists who use the act of travelling the world as their form of expression, and the journey as the work of art. Despite my misgivings, I am not willing to traverse the murky territory of whether such work is art-- I do wonder, however, why such actions are best understood through the lens of art. Why do the artists in question insist on labelling their activities as art, and displaying the remnants of their voyage in white gallery space? This seems ineffectual to me. If, as Melik Ohanian states, the work is about "the experience of exploration more than the image of exploration," then why even attempt to translate the experience to a larger audience? Such presentation seems unnatural and against the very object of the work.