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FIGURE 7.9. General Idea, Baby Makes Three, a self-portrait as three babies. Left to right, Jorge Zontal, AA Bronson, and Felix Partz of General Idea (1969–94). Chromogenic print, 763 × 635 mm. Self-published, 1984/89. Courtesy of AA Bronson.
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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
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Internationaleries 41 36. The exhib
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Internationaleries 43 77. Michel de
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2. After the “Descent to the Ever
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postminimal and conceptualist tende
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After the “Descent to the Everyda
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approach suited HRC, who felt restl
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(mumei-sei), to borrow Akasegawa’
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collectives turned the local popula
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3. Art & Language and the Instituti
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Art & Language and the Institutiona
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called “Art Theory” at the Cove
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FIGURE 3.4. Cover of Blurting in A&
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4. The Collective Camcorder in Art
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The Collective Camcorder in Art and
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5. Performing Revolution: Arte Call
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developing schema within which to r
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Performing Revolution 119 stricture
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group, and their inauguration into
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Performing Revolution 123 lies in G
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Performing Revolution 125 problems
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Performing Revolution 127 Grupo Pro
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Performing Revolution 129 from with
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FIGURE 5.3. Art-De (Juan-Sí Gonzá
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Performing Revolution 133 the museu
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distributed a statement of protest,
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Performing Revolution 137 reason fo
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Performing Revolution 139 which con
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Performing Revolution 141 in which
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Performing Revolution 143 perhaps b
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These privatized 1990s collectives
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Performing Revolution 147 8. Gerard
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Performing Revolution 149 26. In 19
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Performing Revolution 151 which app
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Performing Revolution 153 marginal
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Performing Revolution 155 boy in qu
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Performing Revolution 157 101. They
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Performing Revolution 159 And I bel
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Performing Revolution 161 structure
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This page intentionally left blank
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6. The Mexican Pentagon: Adventures
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The Mexican Pentagon 167 grupos (th
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It was against this background of r
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The Mexican Pentagon 171 Bellas Art
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The Mexican Pentagon 173 5 million
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The Mexican Pentagon 175 Wlled it w
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The Mexican Pentagon 177 Ehrenberg
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The Mexican Pentagon 179 of a campa
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The Mexican Pentagon 181 (including
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Page 414: The Mexican Pentagon 189 11. The gr
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Page 422: 7. Artists’ Collectives: Focus on
Page 426: Artists’ Collectives Mostly in Ne
Page 450: FIGURE 7.7. Doug Ashford of Group M
Page 456: 210 Alan W. Moore and exhibited it
Page 460: 212 Alan W. Moore Even as critical
Page 464: 214 Alan W. Moore face of states an
Page 468: 216 Alan W. Moore networking of adv
Page 472: 218 Alan W. Moore Smokehouse, a gro
Page 476: 220 Alan W. Moore Frontier: GentriW
Page 480: FIGURE 8.1. Huit Facettes-Interacti
Page 484: 224 Okwui Enwezor collective imagin
Page 488: 226 Okwui Enwezor Moreover, moderni
Page 492: 228 Okwui Enwezor The issue of the
Page 496: 230 Okwui Enwezor radicalization of
Page 500: 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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