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FIGURE 10.1. Carnival against Capitalism by Reclaim the Streets and others creates trafWc chaos and extensive damage at the Liverpool Street Station, London, June 18, 1999. Performed at the time of the G8 summit in Cologne to protest against third world debt. Photograph copyright Andrew Wiard, 1999, http://www.reportphotos.com. ▲
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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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FIGURE 8.3. Le Groupe Amos, Peuple
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Page 530: The Production of Social Space as A
Page 542: 9. Beyond Representation and AfWlia
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Page 550: Beyond Representation and AfWliatio
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Page 562: maternal indiscriminate love to ser
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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
Page 604: 284 Brian Holmes The virtual freedo
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Page 612: 288 Brian Holmes so. 30 Acting as l
Page 616: 290 Brian Holmes collective situati
Page 620: 292 Brian Holmes 6. What’s writte
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Page 628: 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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