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▲ Acknowledgments ix Preface xi Introduction 1 Periodizing Collectivism BLAKE STIMSON AND GREGORY SHOLETTE 1. Internationaleries 17 Collectivism, the Grotesque, and Cold War Functionalism JELENA STOJANOVIĆ 2. After the “Descent to the Everyday” 45 Japanese Collectivism from Hi Red Center to The Play, 1964–1973 REIKO TOMII 3. Art & Language and the Institutional Form in Anglo-American Collectivism 77 CHRIS GILBERT 4. The Collective Camcorder in Art and Activism 95 JESSE DREW 5. Performing Revolution 115 Arte Calle, Grupo Provisional, and the Response to the Cuban National Crisis, 1986–1989 RACHEL WEISS
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14 Blake Stimson and Gregory Sholet
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FIGURE 1.1. Internationale Situatio
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18 Jelena Stojanović the collectiv
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20 Jelena Stojanović In other word
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22 Jelena Stojanović conditioning,
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24 Jelena Stojanović the CoBrA IAE
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FIGURE 1.3. Back cover of Cobra, no
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28 Jelena Stojanović in the way th
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30 Jelena Stojanović In the 1960s
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32 Jelena Stojanović still ambiguo
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34 Jelena Stojanović Another signi
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36 Jelena Stojanović collective ow
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38 Jelena Stojanović The internati
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40 Jelena Stojanović Moulin with P
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42 Jelena Stojanović 57. Guy Debor
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FIGURE 2.1. Hi Red Center, Cleaning
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46 Reiko Tomii in history was furth
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48 Reiko Tomii In the early Meiji,
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50 Reiko Tomii formal and structure
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52 Reiko Tomii (i.e., painting and
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54 Reiko Tomii extent worked as col
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56 Reiko Tomii from the ambitious n
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FIGURE 2.3. Akasegawa Genpei, Tokyo
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60 Reiko Tomii in diameter and Wlle
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62 Reiko Tomii was formally founded
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64 Reiko Tomii locales.” 57 There
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FIGURE 2.5. Horikawa Michio, The Sh
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68 Reiko Tomii After 1973, The Play
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70 Reiko Tomii crowd, and generated
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72 Reiko Tomii 6. For example, Uras
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74 Reiko Tomii 41. Statement (June
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FIGURE 3.1. Michael Corris, Network
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78 Chris Gilbert of the Second Worl
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80 Chris Gilbert BEGINNINGS IN BRIT
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FIGURE 3.2. Cover of Art-Language 1
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84 Chris Gilbert and categorized th
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86 Chris Gilbert The purpose of Blu
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88 Chris Gilbert merely unfortunate
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90 Chris Gilbert role was not also
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92 Chris Gilbert types and intentio
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FIGURE 4.1. Crowd turns out in publ
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96 Jesse Drew however, are normally
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98 Jesse Drew prime mover of histor
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100 Jesse Drew nonhierarchical and
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102 Jesse Drew focused on such a ta
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104 Jesse Drew There is something a
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106 Jesse Drew Many of these tapes,
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108 Jesse Drew took on national and
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110 Jesse Drew community radio stat
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112 Jesse Drew sphere has become pa
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FIGURE 5.1. Arte Calle, No queremos
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116 Rachel Weiss signiWcant about t
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118 Rachel Weiss of socialism, and
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120 Rachel Weiss The impulse of “
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122 Rachel Weiss profound economic
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124 Rachel Weiss artistic productio
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126 Rachel Weiss Guevara]), 74 was
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128 Rachel Weiss Provisional’s ca
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130 Rachel Weiss of Arte Calle and
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132 Rachel Weiss displeasure: the g
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FIGURE 5.4. ABTV, poster for Homage
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136 Rachel Weiss things to a head:
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138 Rachel Weiss uniWed a relativel
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140 Rachel Weiss THE COLLECTIVE AND
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142 Rachel Weiss into rhetoric but
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144 Rachel Weiss historically conti
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146 Rachel Weiss development of Cub
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148 Rachel Weiss action. At the gre
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150 Rachel Weiss teach workshops in
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152 Rachel Weiss thought, his style
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154 Rachel Weiss 67. Personal posse
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156 Rachel Weiss and the group move
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158 Rachel Weiss agreement was also
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160 Rachel Weiss 123. Much of the e
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162 Rachel Weiss within the bounds
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FIGURE 6.1. Proceso Pentágono, El
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166 Rubén Gallo individualistic pr
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168 Rubén Gallo Tlatelolco student
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170 Rubén Gallo with the governmen
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172 Rubén Gallo This fascination w
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174 Rubén Gallo the unfolding of t
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176 Rubén Gallo groups began showi
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178 Rubén Gallo had broken with Ca
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180 Rubén Gallo by the groups, whi
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FIGURE 6.5. Proceso Pentágono, Pro
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FIGURE 6.6. Proceso Pentágono, Exp
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186 Rubén Gallo atropellado and El
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188 Rubén Gallo And lastly, the Tr
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190 Rubén Gallo 35. Boudaille, let
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FIGURE 7.1. Demonstration/performan
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194 Alan W. Moore formed in 1969. T
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196 Alan W. Moore FIGURE 7.2. Ah! T
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198 Alan W. Moore thematized battle
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200 Alan W. Moore In Hollywood, Cal
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202 Alan W. Moore The guiding light
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204 Alan W. Moore Rican activists h
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206 Alan W. Moore a campaign of wor
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208 Alan W. Moore on health bureauc
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210 Alan W. Moore and exhibited it
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212 Alan W. Moore Even as critical
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214 Alan W. Moore face of states an
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216 Alan W. Moore networking of adv
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218 Alan W. Moore Smokehouse, a gro
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220 Alan W. Moore Frontier: GentriW
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FIGURE 8.1. Huit Facettes-Interacti
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224 Okwui Enwezor collective imagin
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226 Okwui Enwezor Moreover, moderni
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228 Okwui Enwezor The issue of the
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230 Okwui Enwezor radicalization of
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232 Okwui Enwezor cultures. To say
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234 Okwui Enwezor ethical-juridical
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236 Okwui Enwezor and economic cris
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FIGURE 8.4. Le Groupe Amos, Campagn
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FIGURE 8.6. Le Groupe Amos, Dix ans
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242 Okwui Enwezor N’Landu, a prof
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244 Okwui Enwezor its corollary, cr
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246 Okwui Enwezor development and e
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248 Okwui Enwezor recent debates ar
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250 Okwui Enwezor 1975-1976, ed. Ma
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FIGURE 9.1. A. Osmolovsky (concept)
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254 Irina Aristarkhova THE EGOLOGIC
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256 Irina Aristarkhova At various p
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FIGURE 9.2. A. Osmolovsky (concept)
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260 Irina Aristarkhova social forma
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FIGURE 9.3. Photographs showing nat
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264 Irina Aristarkhova of motherhoo
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266 Irina Aristarkhova Maternal pol
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268 Irina Aristarkhova us, theorist
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270 Irina Aristarkhova 13. Luce Iri
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FIGURE 10.1. Carnival against Capit
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274 Brian Holmes this antagonistic
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276 Brian Holmes with no importance
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278 Brian Holmes Town, where hundre
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280 Brian Holmes culture.” 15 The
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282 Brian Holmes FIGURE 10.2. The B
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284 Brian Holmes The virtual freedo
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286 Brian Holmes which has spread t
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288 Brian Holmes so. 30 Acting as l
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290 Brian Holmes collective situati
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292 Brian Holmes 6. What’s writte
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296 Contributors Chris Gilbert wrot
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300 Index Art & Change, 206 Art & L
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302 Index Cop-Watch, 106 Cornelis (
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304 Index Hallwalls (art space Buff
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306 Index Le Groupe Amos (Congo), x
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308 Index Nissenbi (Japan Advertisi
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310 Index Sartre, Jean-Paul, 8, 248
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312 Index Warsaw Pact, 168 Ways of
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