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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
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artificial hells It is in this lite
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artificial hells a description of t
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artificial hells Collective Actions
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artificial hells was a society of p
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artificial hells part, a Western fa
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artificial hells London ICA in 1966
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artificial hells yet the driving fo
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artificial hells Brisley felt that
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artificial hells company publicity
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artificial hells III. Placements in
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artificial hells 1976. Rather, the
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artificial hells anticipate the ‘
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artificial hells Way to Run a Railr
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artificial hells Children outside t
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artificial hells them in the twenti
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artificial hells The Blackie, Sanct
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artificial hells The Blackie, ‘To
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artificial hells origins and faced
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- Page 276 and 277: artificial hells stages towards a g
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- Page 286 and 287: artificial hells In the late 1990s
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- Page 290 and 291: acknowledgements Oda Projesi, Janel
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notes to pages 14- 16 which replace
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notes to pages 23- 9 that our respo
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notes to pages 33- 6 serve as proof
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notes to pages 43- 6 plays Sphinx a
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notes to pages 49- 53 Benjamin, ‘
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notes to pages 58- 62 1922. Romain
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notes to pages 69- 74 ‘Quelques S
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notes to pages 78- 80 8 Participati
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notes to pages 83- 6 29 Debord’s
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notes to pages 90- 4 54 ‘Manifest
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notes to pages 98- 100 respectively
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notes to pages 103- 6 my propositio
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notes to pages 109- 11 16 ‘The mi
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notes to pages 113- 7 advertisement
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notes to pages 119- 23 57 Ibid. 58
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notes to pages 127- 30 81 Some of t
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notes to pages 132- 5 is an everyda
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notes to pages 139- 41 Dick is alre
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notes to pages 142- 5 the Conceptua
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notes to pages 148- 150 57 ‘The m
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notes to pages 154- 9 Alekseev, Geo
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notes to pages 161- 4 98 Kabakov ag
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notes to pages 168- 70 14 Brisley,
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notes to pages 172- 3 (Walker, John
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notes to pages 176- 8 57 See for ex
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notes to pages 181- 3 in the intera
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notes to pages 188- 94 95 Martha Ro
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notes to pages 199- 202 had looted
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notes to pages 206- 8 exhibition rh
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notes to pages 214- 7 and close art
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notes to pages 223- 6 the village n
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notes to pages 229- 33 community.
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notes to pages 239- 42 44 As Phil C
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notes to pages 244- 9 13 The first
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notes to pages 257- 65 Zeyfang (eds
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notes to pages 269- 72 of new highe
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notes to pages 276- 82 possibility
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Illustration Credits Cover Tania Br
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illustration credits p. 137 Milan K
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illustration credits 1993. Courtesy
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illustration credits Chapter 10 p.
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index Baudrillard, Jean, 200, 236 B
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index Eriksson, Annika, 1, 221 Esca
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index Labyrinth (artwork), 88 Lacan
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index Primera obra de arte de los m
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index Vingt-cinq ans d’art vivant