ARTIFICIAL HELLS

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artificial hells Mark Dion, Chicago Urban Ecology Action Group, 1993. The Chicago Tropical Ecology Study Group in the Cockscombe Basin Wildlife Sanctuary, Belize. hardly any visitors showed up beyond the bus tours on Saturdays, and even then people didn’t know how to engage with a participatory, process- based project that encouraged first- hand involvement. 30 Today, he says, viewers have learnt how to look at this type of work, but in 1993, ‘the art world did not salute this flag’. 31 Mark Dion, Chicago Urban Ecology Action Group, 1993. Members of the Chicago Urban Ecology Action Group in the clubhouse. 204
former west As Dion indicates, this change of approach to exhibition-making – embedding artists in the social field, with the request that they work with specific constituencies – not only changed the artists’ relationship to the work of art (which became a set of more or less finely tuned social relationships, rather than a portable or even visible object), it also changed the viewer’s relationship to seeing art. Johanne Lamoureux has noted how sitespecific exhibitions turn the viewer into a flâneur or tourist: ‘the traditional exhibition, complete with its clashes and joys in the placing of works, yields to the journey. As the map substitutes for the picture, the city replaces the museum.’ 32 With ‘Culture in Action’, even the city ceded and dissolved into social constituencies. As a consequence, the demands placed upon the viewer were even tougher, to the point where spectatorship became an almost impossible position. Christian Philipp Müller recalls the anticlimactic nature of the official bus tour: hours of traffic had to be negotiated in order to see the eight projects, but there was barely anything to view at each site. The artists Grennan and Sperandio, who had collaborated with unionised members of a confectionary plant to design and produce their own candy bar called We Got It!, recall that their stop ‘took in a display in a supermarket retailing the chocolate, with a meet and greet and free gift’. 33 Müller’s memory of this was even more fleeting: being driven at high speed past a billboard advertising We Got It! with Mary Jane Jacob exclaiming ‘There it is! There it is! . . . Oh, you missed it.’ 34 The emergence of the term ‘project’ to describe the new social orientation of art emerges with full force at this juncture. ‘Project Unité’ self- evidently references this shift by referring to its entire enterprise as a ‘project’, with all the connotations of an architectural project that organises social relations. In the catalogue for ‘Sonsbeek 93’, Valerie Smith states that she would like to include ‘collaborative projects, which would directly question the idea of a single artistic identity and celebrate collective creativity’: ‘In “Sonsbeek 93” artists are penetrating institutions. They take on another role, like . . . working in a prison, making a radio narrative, making a work where you have to eat a meal in a restaurant.’ 35 Although Mary Jane Jacob doesn’t define the term ‘project’, it is her systematic word of choice for the eight practices she presented in ‘Culture in Action’: all are embedded in real social systems and involve participation with lower class or marginalised communities. On a formal level they are uncertain in their beginnings and endings, and impossible to represent visually through photographic documentation. In terms of a social goal, the projects in ‘Culture in Action’ are also somewhat contradictory: on the one hand, they express an activist desire to be interacting directly with new audiences and accomplishing concrete goals; on the other, they do this through an embrace of open- endedness, in which the artist is reconfigured as a facilitator of others’ creativity. The inadequacy of the traditional catalogue format to convey this conflicting agenda is painfully 205
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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
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artificial hells Milan Knížák, A
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artificial hells investigated An Ev
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artificial hells form of a stream o
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Stano Filko, Alex Mlynárčik, Happ
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artificial hells ‘happsoc’: ‘
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artificial hells Alex Mlynárčik,
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artificial hells nature of artistic
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III. Problematics of Public Space a
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artificial hells Jan Mlčoch, Class
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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 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: former west artists and collectives
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
Page 238 and 239: artificial hells ends. 34 As such,
Page 240 and 241: artificial hells economic instituti
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Page 245 and 246: 9 Pedagogic Projects: ‘How do you
Page 247 and 248: pedagogic projects southern hemisph
Page 249 and 250: pedagogic projects curriculum, offe
Page 251 and 252: pedagogic projects however, was not
Page 253 and 254: pedagogic projects re- installed ev
Page 255 and 256: pedagogic projects uncanny sense of
Page 257 and 258: 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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