ARTIFICIAL HELLS

illustration credits
p. 184 (top) The Blackie, Sanctuary, participatory performance at Quarry
Bank High School, Liverpool, 1969. View showing middleclass
housing ‘Riverdale’ with occupant. Courtesy Bill and
Wendy Harpe.
p. 184 (bottom) The Blackie, Sanctuary, participatory performance at Quarry
Bank High School, Liverpool, 1969. View showing the housing
department. Courtesy Bill and Wendy Harpe.
p 186 The Blackie, ‘Towards A Common Language’, installation
view of participatory exhibition at the Walker Art Gallery,
Liverpool, 1973. Courtesy Bill and Wendy Harpe.
p. 187 David Medalla, A Stitch in Time, Gallery House, London,
1972. Photo: John Dugger. Courtesy the artist.
p. 186 Inter- Action, main hall of the Cedric Price building in Kentish
Town, London, undated. Courtesy David Powell.
Chapter 7
p. 196 Le Corbusier, Unité d’Habitation, Firminy, begun 1965. Photo:
Olivier Martin- Gambier. Courtesy the photographer, Fondation
Le Corbusier and A.D.G.A.P.
p. 197 Clegg & Guttmann, Firminy Music Library, 1993, installation
view at ‘Project Unité’. Courtesy the artists.
p. 198 Renée Green, Apartment Inhabited by the Artist Prior to the
Opening, 1993, installation view at ‘Project Unité’. Courtesy
the artist.
p. 201 Mark Dion, Project for the Royal Home for the Retirees, 1993,
‘Sonsbeek 93’, Arnhem. Installation view showing one of the
retirees and Dion’s reconstructed display cabinet. Photo: Mark
Dion. Courtesy the artist and Tanya Bonakdar Gallery.
p. 202 Irene and Christine Hohenbüchler, untitled project for ‘Sonsbeek
93’. View of workshops in which the artists collaborated
with prisoners in the penitentiary institute De Berg, Arnhem.
Courtesy the artists.
p. 204 (top) Mark Dion, Chicago Urban Ecology Action Group, 1993. View
of the Chicago Tropical Ecology Study Group in the Cockscombe
Basin Wildlife Sanctuary, Belize, 1993. Photo: Jessica
Rath. Courtesy the artist and Tanya Bonakdar Gallery.
p. 204 (bottom) Mark Dion, Chicago Urban Ecology Action Group, 1993. Some
members of the Chicago Urban Ecology Action Group in the
clubhouse. Photo: Mark Dion. Courtesy the artist and Tanya
Bonakdar Gallery.
p. 208 Philippe Parreno, No More Reality, 1991, in ‘No Man’s Time’,
1991. Courtesy the artist.
p. 210 Rirkrit Tiravanija, untitled 1993 (flädlesuppe), in ‘Backstage:
Topologie zeitgenössischer Kunst’, Kunstverein in Hamburg,
368