ARTIFICIAL HELLS

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artificial hells The Blackie, Sanctuary, 1969. Middle-class housing ‘Riverdale’ with occupant. quality). Both had a huge impact on the promotion of a popular culture committed to broadening audience participation, rather than the consumption of high art as part of a profit- making system. Moreover, collective authorship in theatre did not require a radical overhaul of its traditional modus operandi, which has always been collaborative. Visual art, by contrast, was more fraught as a participatory activity. The Blackie, Sanctuary, 1969. The housing department. 184
incidental people Historically dominated by singular expression and clearly defined authorship, both of which are indexed to financial value, visual art was more difficult to reconcile with the community arts agenda. Mural painting as a popular mode of collective expression seemed somewhat dated by the 1970s, so Inter- Action’s Liz Leyh took a different approach, making concrete sculptures at the new development of Milton Keynes, the maquettes of which were created in collaboration with local residents. The Blackie also tried to experiment with participatory visual art in the exhibition project ‘Towards a Common Language’, held in the Education Room of Liverpool’s Walker Art Gallery, 22– 28 October 1973. The show comprised blank canvases, boards and paper attached to the gallery walls, ready to be painted by visitors, who had the choice of looking at the completed works or creating one of their own. In one week over 3,475 visitors came to the museum; 301 works were completed by adults and 642 by children. Visitors could take their painting away, or leave it in the gallery, where it would be put on display in poster racks. ‘The exhibition will consist of the blank “pieces” and/ or people at work/ play’, wrote Harpe in his notes for show, and ‘there will be no “opening” or private view’. 86 Despite the overlapping ambitions of community arts and contemporary art in the 1970s, it is conspicuous that the gestures undertaken by the former remained localised in impact and have fallen out of historical memory; when similar projects were undertaken by a single artist, such as David Medalla, a critical debate was formed, established and defended. 87 Medalla, a London- based Filipino artist associated with Signals Gallery, connected his installations to emancipatory politics and Asian ideas of community. His outdoor work Down with the Slave Trade! (1968– 71) involved the installation of a selection of chairs, coloured flags and a mesh of colourful plastic tubing in a given city square. 88 People were invited to interact and become entangled with the work, which seemed to serve as a metaphor for oppression, but also as an opportunity for individuals to be linked (at least visually) in collective solidarity. A Stitch in Time (also 1968, subsequently shown in Documenta 5, 1972) comprised a large swathe of fabric suspended across the gallery, onto which the public were invited to embroider designs and slogans. It is tempting to put Medalla’s work into direct comparison with The Blackie’s ‘Towards a Common Language’: both are collectively produced projects whose process is as important as the final result. But in the case of Medalla, substantial photographic documentation allows us to connect these images and ideas to an authored corpus of ongoing interests and visual experiments. The artist produces an object or installation as container for the participatory process, and moves away from traditional modes of drawing and sculpture to the slower activity of embroidery (with its associations of women’s work), whose 185
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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
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artificial hells 1965), an ambitiou
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artificial hells Oscar Bony, The Wo
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artificial hells ephemerality of wo
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artificial hells more light- hearte
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artificial hells The work consists
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artificial hells refinery owners ho
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artificial hells connected this opp
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artificial hells started digging gr
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artificial hells aesthetic programm
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artificial hells non- aligned forme
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artificial hells 1977. Although the
Page 138 and 139: artificial hells Milan Knížák, A
Page 140 and 141: artificial hells investigated An Ev
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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
Page 160 and 161: artificial hells a description of t
Page 162 and 163: artificial hells Collective Actions
Page 164 and 165: artificial hells was a society of p
Page 166 and 167: artificial hells part, a Western fa
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 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
Page 217 and 218: Carl Michael von Hausswolff, Andrew
Page 219 and 220: former west artists at this time. T
Page 221: former west however, result in a fo
Page 224 and 225: artificial hells specialist art wor
Page 226 and 227: artificial hells performing music)
Page 228 and 229: artificial hells specific abilities
Page 230 and 231: artificial hells Martin Creed’s W
Page 232 and 233: artificial hells Artur Żmijewski,
Page 234 and 235: artificial hells Marina Abramovic,
Page 236 and 237: 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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