ARTIFICIAL HELLS

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artificial hells part, a Western fantasy). The reality of daily life under these regimes necessitates a more sober understanding of the artistic gestures achieved there, and appreciation of the consummate subtlety with which so many of them were undertaken. 162
6 Incidental People: APG and Community Arts The post- ’68 period in Britain saw the formation of two attempts to rethink the artist’s role in society. The first was set in motion in 1966, and its politics were contested within years of its inception: the Artist Placement Group (APG), founded by the artist John Latham and his then- partner Barbara Steveni, and which continued until 1989 when it was renamed O+I. 1 The second is the community arts movement, whose emergence in the UK forms part of an international push across Europe and North America to democratise and facilitate lay creativity, and to increase accessibility to the arts for less privileged audiences. These developments represent two distinct poles of rethinking the artist’s place in society in the late 1960s and 1970s: one in which the artist undertakes a placement with a company or government body, and one in which the individual artist assumes the role of facilitating creativity among ‘everyday’ people. It should be noted that the academic literature on both of these movements is scanty: the bulk of publications on community arts tend to comprise reports and evaluations of specific projects rather than a synthesised narrative; the APG have only recently begun to be the focus of historical re- evaluation in the UK, in part due to the death of John Latham in 2006 and the deposit of APG’s archive at Tate in 2004 (at the time of writing still uncatalogued), but also due to the interest of a younger generation of artists and curators who see parallels between their own intervention- based activities and those of APG. 2 I. The Formation of APG APG is usually credited as the brainchild of John Latham (1921– 2006), a mixed- media artist peripherally involved with Assemblage and Fluxus during the 1960s. 3 He began making reliefs and assemblages from 1954 onwards, using the then new technology of spray paint; he also made films, actions, and participated in the Destruction in Art Symposium at the 163
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ARTIFICIAL HELLS Participatory Art
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Contents Introduction 1 1 The Socia
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Introduction All artists are alike.
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introduction framed within a tradit
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introduction education). Both of th
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introduction and troubling forms of
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introduction participatory art desp
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artificial hells extras of the spec
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artificial hells denotes self- real
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artificial hells but because the po
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artificial hells triple enemy of fo
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artificial hells Oda Projesi, FAIL#
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artificial hells Thomas Hirschhorn,
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Rachel Whiteread, House, 1993 Lorai
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artificial hells historical avant-
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artificial hells the drawbacks of t
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artificial hells sensoriality from
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artificial hells the same time, Del
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artificial hells politically self-
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artificial hells societies. 76 Beca
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artificial hells passive always end
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artificial hells ‘good soul’; i
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artificial hells I. Provocation, Pr
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artificial hells From the beginning
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artificial hells perhaps regard the
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artificial hells On the other hand,
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artificial hells productions, and t
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artificial hells real work, applyin
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artificial hells Kerzhentsev advoca
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artificial hells It is unsurprising
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artificial hells figure is Kerzhent
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artificial hells Re-enactment of th
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artificial hells It goes without sa
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Hooter Symphony, c.1920 Conductor o
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artificial hells experiments of thi
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Excursions and Visits, flyer for th
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artificial hells started to scatter
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artificial hells point of quasi- an
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artificial hells demanding an activ
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Atelier Populaire, Je participe, tu
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artificial hells Khatib’s ‘Atte
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artificial hells studies (many of w
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artificial hells exhibitions in Par
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artificial hells prompting a media
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artificial hells the constructed si
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artificial hells during the 1940s.
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artificial hells a critique of art
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Groupe Recherche d’Art Visuel, it
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artificial hells Happenings in Euro
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artificial hells Lebel pushed a pra
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artificial hells Jean-Jacques Lebel
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artificial hells Most of the time,
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artificial hells then this also req
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artificial hells alternative; toget
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artificial hells Brazil in that it
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artificial hells with photographs o
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artificial hells decision to provid
Page 116 and 117: artificial hells 1965), an ambitiou
Page 118 and 119: artificial hells Oscar Bony, The Wo
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Page 122 and 123: artificial hells more light- hearte
Page 124 and 125: artificial hells The work consists
Page 126 and 127: artificial hells refinery owners ho
Page 128 and 129: artificial hells connected this opp
Page 130 and 131: artificial hells started digging gr
Page 132 and 133: artificial hells aesthetic programm
Page 134 and 135: artificial hells non- aligned forme
Page 136 and 137: artificial hells 1977. Although the
Page 138 and 139: artificial hells Milan Knížák, A
Page 140 and 141: artificial hells investigated An Ev
Page 142 and 143: artificial hells form of a stream o
Page 144 and 145: Stano Filko, Alex Mlynárčik, Happ
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Page 148 and 149: artificial hells Alex Mlynárčik,
Page 150 and 151: artificial hells nature of artistic
Page 152 and 153: III. Problematics of Public Space a
Page 154 and 155: artificial hells Jan Mlčoch, Class
Page 156 and 157: artificial hells posters around the
Page 158 and 159: artificial hells It is in this lite
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Page 162 and 163: artificial hells Collective Actions
Page 164 and 165: artificial hells was a society of p
Page 168 and 169: artificial hells London ICA in 1966
Page 170 and 171: artificial hells yet the driving fo
Page 172 and 173: artificial hells Brisley felt that
Page 174 and 175: artificial hells company publicity
Page 176 and 177: artificial hells III. Placements in
Page 178 and 179: artificial hells 1976. Rather, the
Page 180 and 181: artificial hells anticipate the ‘
Page 182 and 183: artificial hells Way to Run a Railr
Page 184 and 185: artificial hells Children outside t
Page 186 and 187: artificial hells them in the twenti
Page 188 and 189: artificial hells The Blackie, Sanct
Page 190 and 191: artificial hells The Blackie, ‘To
Page 192 and 193: artificial hells origins and faced
Page 194 and 195: artificial hells In other words, co
Page 197 and 198: 7 Former West: Art as Project in th
Page 199 and 200: former west In tracing the re- emer
Page 201 and 202: former west Green, whose proposal d
Page 203 and 204: former west (building, residents, a
Page 205 and 206: former west brought back from their
Page 207 and 208: former west artists and collectives
Page 209 and 210: former west As Dion indicates, this
Page 211 and 212: former west II. Performative Exhibi
Page 213 and 214: former west ‘No Man’s Time’ c
Page 215 and 216: former west The artists were asked
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Carl Michael von Hausswolff, Andrew
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former west artists at this time. T
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former west however, result in a fo
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artificial hells specialist art wor
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artificial hells performing music)
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artificial hells specific abilities
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artificial hells Martin Creed’s W
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artificial hells Artur Żmijewski,
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artificial hells Marina Abramovic,
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artificial hells provide not just t
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artificial hells ends. 34 As such,
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artificial hells economic instituti
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artificial hells essential in this
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9 Pedagogic Projects: ‘How do you
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pedagogic projects southern hemisph
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pedagogic projects curriculum, offe
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pedagogic projects however, was not
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pedagogic projects re- installed ev
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pedagogic projects uncanny sense of
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Paul Chan, Waiting for Godot in New
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pedagogic projects Chan identifies
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pedagogic projects kids and the sci
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pedagogic projects In 2005, Żmijew
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pedagogic projects the history of B
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pedagogic projects play, only note
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pedagogic projects into which the p
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pedagogic projects framework applie
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pedagogic projects rather than a cr
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pedagogic projects and Lia Perjovsc
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pedagogic projects to morality. Nea
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Conclusion The dominant narrative t
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conclusion emergence of the contemp
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conclusion I. The Ladder and the Co
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Christoph Schlingensief, Please Lov
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conclusion of art to a question of
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Acknowledgements This book took a l
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Notes Introduction 1 Jeremy Deller:
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notes to pages 11- 13 University of
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notes to pages 18- 23 28 I say schi
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notes to pages 29- 33 56 ‘Suitabl
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notes to pages 37- 43 79 ‘This ki
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notes to pages 46- 9 14 Michael Kir
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notes to pages 54- 8 Mystery- Bouff
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notes to pages 63- 9 82 Kerzhentsev
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notes to pages 74- 78 the Great War
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notes to pages 80- 3 ‘40˚ au- de
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notes to pages 86- 9 its emphasis o
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notes to pages 94- 8 theatre. In th
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notes to pages 100- 3 89 Lebel, int
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notes to pages 106- 9 Columba, 1967
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notes to pages 111- 2 designed to t
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notes to pages 117- 9 ‘Un mongolo
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notes to pages 124- 6 taken, most o
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notes to pages 131- 2 at having to
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notes to pages 135- 8 employed to d
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notes to pages 141- 2 general of th
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notes to pages 146- 7 suspect of ha
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notes to pages 150- 4 almost no int
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notes to pages 159- 60 What I wante
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notes to pages 165- 7 Lawson, Julie
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notes to pages 170- 1 28 Ibid., p.
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notes to pages 173- 5 48 See Brisle
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notes to pages 179- 81 which saw cr
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notes to pages 185- 8 limited, and
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notes to pages 194- 8 4 In his intr
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notes to pages 202- 6 their work, i
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notes to pages 209- 14 48 Rirkrit T
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notes to pages 217- 23 Gonzalez- Fo
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notes to pages 226- 9 using the fiv
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notes to pages 234- 8 34 In other w
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notes to pages 242- 3 e- flux journ
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notes to pages 251- 7 de Aizpuru in
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notes to pages 266- 8 49 Jacques Ra
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notes to pages 273- 6 70 ‘Patentl
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notes to pages 283- 4 newspaper, in
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illustration credits Chapter 3 p. 7
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illustration credits p. 184 (top) T
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illustration credits p. 235 Pierre
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Index Abramovic, Marina, 219, 230 A
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index Classic Escape (book), 149 Cl
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index Hackney Writers Workshop, 173
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index Moreau, Gustave, 95 Müller,
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index ‘Sonsbeek 93,’ (exhibitio
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On the Typeface Artificial Hells is
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ARTIFICIAL HELLS

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