ARTIFICIAL HELLS

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Groupe Recherche d’Art Visuel, itinerary for A Day in the Street, 1966
je participe, tu participes, il participe audience is ‘the “solitary crowd” of the society of the spectacle, and here Le Parc is not so advanced that he believes in reality; in the organisation of this alienation, there is certainly no spectator free to stay purely passive, even their passivity is organised, and the “stimulated spectators” of Le Parc are already everywhere’. 60 In other words, the participants of GRAV’s perceptual experimentation were insufficiently distinct from the passive spectators of mass consumer capitalism; without a choice not to participate, it replicated this structure wholesale. It was more important, felt the SI, to entirely abandon the present- day function of art and art criticism under capitalism; to repress both in the name of a revolutionary critique. To be fair, GRAV’s Joël Stein later acknowledged this problem: At the start, this interaction between the spectator and the work tends to establish a direct contact and provoke a spontaneous reaction, independent of a given culture or pre- established aesthetic considerations. But it can become a sort of entertainment, a spectacle in which the public is one of the elements in the work. The public can become subject to taking ideological sides; it can also be a new way to condition the public, even numb them. 61 In sum, although GRAV deployed a terminology of ‘situations’ and superficially shared a great deal of the SI’s political rhetoric, their attempt to encourage viewer participation was experientially somewhat pedestrian. At the same time, we should be wary of siding too rapidly with the SI’s hectoring dismissals: it is symptomatic of the forcefulness of a Marxist critique of art that GRAV’s modest shifts in perception seem minor and inconsequential in comparison with the total (and utopian) overhaul of both society and sensibility that the SI were claiming as their goal. It should be recognised that, for all their prosaic output, GRAV’s artistic propositions aimed to engage with the general public in a far more generous fashion than the SI’s cliquish events, which were underpinned by competitive and dogmatic pronouncements against those who co- operated with the existing institutions of art. At the same time, the banality and earnest didacticism of GRAV’s work foreground an ongoing paradox with participation as an artistic device: from opening up a work to manipulation and alteration by the viewer, it rapidly becomes a highly ideologised convention in its own right, one by which the viewer in turn is manipulated in order to complete the work ‘correctly’. III. Lebel: Collective Exorcism It was not just Le Parc and GRAV that came under attack from the SI for pseudo- participation. Happenings, in their ‘naïve search to “make something happen” ’ and ‘desire to liven up a little the impoverished range of human relations’, were also the subject of scathing rejection. 62 The first 93
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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
Page 46 and 47: artificial hells I. Provocation, Pr
Page 48 and 49: artificial hells From the beginning
Page 50 and 51: artificial hells perhaps regard the
Page 52 and 53: artificial hells On the other hand,
Page 54 and 55: artificial hells productions, and t
Page 56 and 57: artificial hells real work, applyin
Page 58 and 59: artificial hells Kerzhentsev advoca
Page 60 and 61: artificial hells It is unsurprising
Page 62 and 63: artificial hells figure is Kerzhent
Page 64 and 65: artificial hells Re-enactment of th
Page 66 and 67: artificial hells It goes without sa
Page 68 and 69: Hooter Symphony, c.1920 Conductor o
Page 70 and 71: artificial hells experiments of thi
Page 72 and 73: Excursions and Visits, flyer for th
Page 74 and 75: artificial hells started to scatter
Page 76 and 77: artificial hells point of quasi- an
Page 78 and 79: artificial hells demanding an activ
Page 80 and 81: Atelier Populaire, Je participe, tu
Page 82 and 83: artificial hells Khatib’s ‘Atte
Page 84 and 85: artificial hells studies (many of w
Page 86 and 87: artificial hells exhibitions in Par
Page 88 and 89: artificial hells prompting a media
Page 90 and 91: artificial hells the constructed si
Page 92 and 93: artificial hells during the 1940s.
Page 94 and 95: artificial hells a critique of art
Page 98 and 99: artificial hells Happenings in Euro
Page 100 and 101: artificial hells Lebel pushed a pra
Page 102 and 103: artificial hells Jean-Jacques Lebel
Page 104 and 105: artificial hells Most of the time,
Page 106 and 107: artificial hells then this also req
Page 108 and 109: artificial hells alternative; toget
Page 110 and 111: artificial hells Brazil in that it
Page 112 and 113: artificial hells with photographs o
Page 114 and 115: artificial hells decision to provid
Page 116 and 117: artificial hells 1965), an ambitiou
Page 118 and 119: artificial hells Oscar Bony, The Wo
Page 120 and 121: artificial hells ephemerality of wo
Page 122 and 123: artificial hells more light- hearte
Page 124 and 125: artificial hells The work consists
Page 126 and 127: artificial hells refinery owners ho
Page 128 and 129: artificial hells connected this opp
Page 130 and 131: artificial hells started digging gr
Page 132 and 133: artificial hells aesthetic programm
Page 134 and 135: artificial hells non- aligned forme
Page 136 and 137: artificial hells 1977. Although the
Page 138 and 139: artificial hells Milan Knížák, A
Page 140 and 141: artificial hells investigated An Ev
Page 142 and 143: artificial hells form of a stream o
Page 144 and 145: 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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artificial hells In other words, co
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7 Former West: Art as Project in th
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former west In tracing the re- emer
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former west Green, whose proposal d
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former west (building, residents, a
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former west brought back from their
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former west artists and collectives
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former west As Dion indicates, this
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former west II. Performative Exhibi
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former west ‘No Man’s Time’ c
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former west The artists were asked
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Carl Michael von Hausswolff, Andrew
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former west artists at this time. T
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former west however, result in a fo
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artificial hells specialist art wor
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artificial hells performing music)
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artificial hells specific abilities
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artificial hells Martin Creed’s W
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artificial hells Artur Żmijewski,
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artificial hells Marina Abramovic,
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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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