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312 Index Warsaw Pact, 168 Ways of Seeing (Berger), 202 Weatherman (Weather Underground), 199 Wegman, William, 95 Weiner, Lawrence, 81 Whisper Media, xiv Whitney Museum, 90, 197, 202, 206, 210 Williams, Raymond, 91 WITCH (Women’s International Terrorist Corps from Hell), 198 Witker, Alejandro, 179 Wochenklausur, 4 Wolman, Gill J., 21, 32 Wolvecamp, Theo, 21 Womanhouse, 200 Women Artists in Revolution (WAR), 78, 199 Wood, Paul, 80 World Bank, 234, 285 World Economic Forum, xvi World Social Forum, 279, 286, 287 World Trade Organization (WTO), xvi, 110, 281, 282 World Wide Web, 213 Wu, Chin-tao, xiv Xchange TV, 104 Yalta Conference, 9 Yes Men, xiv, xvi, 10, 215, 281, 282 Yomango, xiv, 13, 285, 286 Yoshihara Jirō, 45 Yoshimura Masunobu, 69 Young Lords, 195 Young Pioneers, 7 Zapata, Emiliano, 165 Zapatistas, 110, 214, 278 Zara (clothing brand), 288 Zenkyōtō (Zengaku Kyōtō Kaigi; All- Campus Joint-Struggle Councils), 62 Zentrum für Kunst und Medientechnologie, 84 Zero (European-based art and technology group), 197 Zero Dimension (Zero Jigen), 10, 47, 49, 53, 59, 60, 61, 64, 69, 71 Zero-kai (Zero Society), 46 Zhirinovsky, Vladimir, 246 ’zines (fanzines), 101, 275, 291 n. 1 Zizek, Slavoj, 269 n. 9 Zola, Émile, 22 Zontal, Jorge, 208
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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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9. Beyond Representation and AfWlia
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This defensiveness, in many cases c
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Beyond Representation and AfWliatio
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Osmolovsky was arguably the most po
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maternal indiscriminate love to ser
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eproduction of our cultures and whe
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10. Do-It-Yourself Geopolitics: Car
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produced under different names ever
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Do-It-Yourself Geopolitics 277 J18
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and regions. The concept of the glo
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Do-It-Yourself Geopolitics 281 para
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FIGURE 10.3. Detail of Bureau d’E
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Do-It-Yourself Geopolitics 285 The
Page 610: Do-It-Yourself Geopolitics 287 etc.
Page 614: FIGURE 10.7. Poster for Euro Mayday
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Page 622: Do-It-Yourself Geopolitics 293 de p
Page 626: Contributors Irina Aristarkhova is
Page 630: Contributors 297 Reiko Tomii is an
Page 634: ABC No Rio, 204, 219 n. 29 abstract
Page 638: Blanco, José Joaquín, 173, 189 n.
Page 642: Foster, Hal, 231, 249 n. 9, 249 n.
Page 646: Jack’s Society, 59 Jacob, Luis, 2
Page 650: Moles, Abraham, 27 Mondrian, Piet,
Page 654: Psychophysiology Research Institute
Page 658: Takis, 196, 197 Taller Boricua, 195
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