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FIGURE 9.2. A. Osmolovsky (concept), The Barricade: Devoted to the Events in Paris of 1968, action held on Bolshaya Nikitskaya Street, Moscow, May 23, 1998. Copyright A. Osmolovsky, 2004. Printed with permission.
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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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contributed to the celebrations by
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criticisms, and attacks. Perhaps th
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material for Expediente. And while
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The Mexican Pentagon 189 11. The gr
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7. Artists’ Collectives: Focus on
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Artists’ Collectives Mostly in Ne
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FIGURE 7.7. Doug Ashford of Group M
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FIGURE 7.9. General Idea, Baby Make
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continues to travel in Europe. The
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8. The Production of Social Space a
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The Production of Social Space as A
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Page 502: The Production of Social Space as A
Page 510: FIGURE 8.3. Le Groupe Amos, Peuple
Page 542: 9. Beyond Representation and AfWlia
Page 546: This defensiveness, in many cases c
Page 550: Beyond Representation and AfWliatio
Page 556: 260 Irina Aristarkhova social forma
Page 560: FIGURE 9.3. Photographs showing nat
Page 564: 264 Irina Aristarkhova of motherhoo
Page 568: 266 Irina Aristarkhova Maternal pol
Page 572: 268 Irina Aristarkhova us, theorist
Page 576: 270 Irina Aristarkhova 13. Luce Iri
Page 580: FIGURE 10.1. Carnival against Capit
Page 584: 274 Brian Holmes this antagonistic
Page 588: 276 Brian Holmes with no importance
Page 592: 278 Brian Holmes Town, where hundre
Page 596: 280 Brian Holmes culture.” 15 The
Page 600: 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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