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FIGURE 2.5. Horikawa Michio, The Shinano River Plan (Christmas Present), 1969, from Psychophysiology Research Institute (1969–70). Printed matter, 21 x 29.7 cm. Photograph courtesy of Ina Ken’ichirō .
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▲ COLLECTIVISM AFTER MODERNISM
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COLLECTIVISM ▲ AFTER MODERNISM Th
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TO LOUISE AND ARIANA
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CONTENTS 6. The Mexican Pentagon 16
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Acknowledgments This book would not
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Preface The collectivization of art
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FIGURE P.1. Promotional poster for
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directly opposite individuated form
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Preface xvii admit a desire to see
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Introduction: Periodizing Collectiv
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Introduction 3 to increase their pr
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Introduction 5 Modernist artists un
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Those good intentions have lingered
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Introduction 9 and that helped give
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collectivism brings focus to—inev
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Introduction 13 artists on Chicago
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Introduction 15 Phase of the Cultur
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1. Internationaleries: Collectivism
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Internationaleries 19 played a “u
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Internationaleries 21 Rooskens, Eug
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FIGURE 1.2. Le “Realisme-Socialis
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Internationaleries 25 and an active
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Internationaleries 27 create a demo
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Internationaleries 29 of the fourth
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Debord’s 1967 pamphlet entitled T
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Internationaleries 33 in which the
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Internationaleries 35 be demystiWed
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printing a series of uncomplicated
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NOTES Internationaleries 39 1. Haro
Page 118: Internationaleries 41 36. The exhib
Page 122: Internationaleries 43 77. Michel de
Page 126: 2. After the “Descent to the Ever
Page 130: postminimal and conceptualist tende
Page 134: After the “Descent to the Everyda
Page 146: approach suited HRC, who felt restl
Page 150: (mumei-sei), to borrow Akasegawa’
Page 172: 68 Reiko Tomii After 1973, The Play
Page 176: 70 Reiko Tomii crowd, and generated
Page 180: 72 Reiko Tomii 6. For example, Uras
Page 184: 74 Reiko Tomii 41. Statement (June
Page 188: FIGURE 3.1. Michael Corris, Network
Page 192: 78 Chris Gilbert of the Second Worl
Page 196: 80 Chris Gilbert BEGINNINGS IN BRIT
Page 200: FIGURE 3.2. Cover of Art-Language 1
Page 204: 84 Chris Gilbert and categorized th
Page 208: 86 Chris Gilbert The purpose of Blu
Page 212: 88 Chris Gilbert merely unfortunate
Page 216: 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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