ARTIFICIAL HELLS

notes to pages 209– 14
48 Rirkrit Tiravanija, in Surface de Réparations, p. 91.
49 Troncy, ‘No Man’s Time’, p. 168. The poster was advertised as ‘August–
July 1988’, i.e. three years earlier, prior to the fall of the Berlin Wall and
the Gulf War. In the Guggenheim catalogue entry on this exhibition,
Michael Archer explicitly connects ‘No Man’s Time’ to Fukuyama’s
eulogy to liberalism, ‘The End of History?’, The National Interest, 16,
Summer 1989, pp. 3– 18.
50 Troncy, ‘No Man’s Time’, p. 169.
51 Ibid, p. 169.
52 ‘The exhibition setting is not merely a whim on the part of the curator but
simply an attempt to correspond the model of the show with that of the
works.’ (Ibid., p. 169.)
53 Jan Åman, ‘One of Four Introductions’, in Eda Čufer and Victor Misiano
(eds.), Interpol: The Art Exhibition Which Divided East and West, Ljubljana:
IRWIN/ Moscow Art Magazine, 2000, p. 6. Misiano was living in Paris in
1992 and met many of the protagonists of the French scene. However, he
claims that ‘Interpol’ was less a response to European experiments than
the ‘conclusion to a series of performative curatorial exercises I was doing
in Moscow and abroad from 1992. . . . But crucial for me was my participation
in the “Molteplici Culture” project organized by Carolyn
Christov- Bakargiev in Rome in 1992 . . . The generational difference in
curatorial approaches was revealed there visibly.’ (Misiano, email to the
author, 25 September 2009.)
54 Viktor Misiano, ‘Introduction’, Interpol: A Global Network from Stockholm
and Moscow, Stockholm: Färgfabriken and Aggerborgs, 1996, n.p.
55 Misiano chose five Russian artists (Alexander Brener, Vadim Fishkin,
Dmitri Gutov, Yuri Leiderman and Anatoly Osmolovsky), who in turn
selected three more: Maurizio Cattelan (Italy), IRWIN (Slovenia) and
Wenda Gu (China, based in Paris). Åman chose six Swedish artists
(Johannes Albers, Bigert & Bergström, Ernst Billgren, Carl Michael von
Hausswolff, Birgitta Muhr, Ella Tideman), who in turn invited Matthias
Wegner from Cologne, Oleg Kulik from Moscow and Ionna Theocaropoulou
from Greece.
56 Misiano, ‘Interpol – An Apology of Defeat’, in Čufer and Misiano (eds.),
Interpol, p. 45.
57 The videotape of the meal/ discussion was then intended to be shown on
a loop during the remainder of the exhibition, next to the remains of the
meal on the dining table – but even this plan failed, as the food and detritus
were promptly cleaned away by the gallery staff.
58 Alexander Brener, ‘Ticket that Exploded’, in Čufer and Misiano (eds.),
Interpol, p. 10.
59 Fishkin’s piece only worked for a few hours during the opening.
60 ‘An Open Letter to the Art World’, in Čufer and Misiano (eds.), Interpol, p. 22.
61 Misiano, email to the author, 13 August 2010. The legacy of ‘Apt- Art’
347