Participatory Art and the Politics of Spectatorship - autonomous ...
Participatory Art and the Politics of Spectatorship - autonomous ...
Participatory Art and the Politics of Spectatorship - autonomous ...
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social sadism made explicit<br />
generate spontaneous movement <strong>of</strong> <strong>the</strong> material. In addition to <strong>the</strong>se objects,<br />
an Invisible Cube is placed in front <strong>of</strong> <strong>the</strong> seated performer. Since De<br />
Dominicis once observed that a person with Down’s Syndrome ‘was to be<br />
interpreted as a different state <strong>of</strong> being’, <strong>the</strong> whole installation adds up to a<br />
situation <strong>of</strong> non- communication. 44 The work stages two irreconcilable<br />
types <strong>of</strong> vision <strong>and</strong> consciousness: <strong>the</strong> gaze <strong>of</strong> <strong>the</strong> performer with Down’s<br />
Syndrome, <strong>and</strong> <strong>the</strong> gaze <strong>of</strong> those who look at him. This reading is reinforced<br />
by <strong>the</strong> one <strong>of</strong>fi cial photograph <strong>of</strong> this performance, in which we see<br />
a viewer in <strong>the</strong> middle <strong>of</strong> putting on her spectacles; <strong>the</strong> image seems to<br />
emphasise <strong>the</strong> disjunction between two different experiences <strong>of</strong> looking<br />
<strong>and</strong> thinking (three, in fact, if we count ourselves). 45<br />
Each <strong>of</strong> <strong>the</strong>se examples, like Bony’s The Worker’s Family, are isolated<br />
precedents for a tendency that has become familiar in contemporary art<br />
since <strong>the</strong> early 1990s. But it is telling that Bony, when interviewed in 1998<br />
at <strong>the</strong> time <strong>of</strong> its restaging, confessed that he still didn’t know how to<br />
describe this piece, since it existed as both a conceptual operation <strong>and</strong><br />
concrete materiality: he referred to it as a ‘conceptual proposition’ since<br />
‘a group <strong>of</strong> people can’t be <strong>the</strong> material <strong>of</strong> <strong>the</strong> work’: ‘it wasn’t a performance,<br />
because it hasn’t got a script, it isn’t body art, <strong>the</strong>re’s no clear<br />
category for this work, <strong>and</strong> I like that very much, <strong>the</strong> fact that not even I<br />
can fi nd a precise categorisation. I fi nd extremely important <strong>the</strong> fact that<br />
<strong>the</strong>re is a certain feeling <strong>of</strong> being on <strong>the</strong> limit.’ 46 Bony’s uncertainty about<br />
how to defi ne his piece, as well as his feeling <strong>of</strong> liminality, continues in<br />
<strong>the</strong> critical queasiness that accompanies <strong>the</strong> exhibition <strong>of</strong> people in works<br />
<strong>of</strong> art today. In Bony’s case, <strong>the</strong> viewer’s self- consciousness in front <strong>of</strong><br />
<strong>the</strong> family is not simply <strong>the</strong> heightened awareness <strong>of</strong> a phenomenological<br />
encounter – as one ideally experiences in relation to minimalist objects<br />
– but a shared embarrassment: it imposes upon us, as one critic wrote in<br />
a review <strong>of</strong> Bony’s work, ‘<strong>the</strong> shared humiliation <strong>of</strong> looking at <strong>the</strong>se<br />
people who have been paid in order to let <strong>the</strong>mselves be seen’. 47 This<br />
complicated dynamic seems to have been in Bony’s mind as he referred<br />
to himself as a ‘torturer’ – for him, The Worker’s Family was based less on<br />
politics than on <strong>the</strong> production <strong>of</strong> moral unease: ‘it is obvious’, he said,<br />
‘that <strong>the</strong> work was based on ethics, for exposing <strong>the</strong>m to ridicule made<br />
me feel uncomfortable’. 48<br />
The Worker’s Family is an exception within Bony’s oeuvre: until that<br />
date his work had spanned fi gurative painting, 16mm fi lms, realist sculpture,<br />
minimalist structures <strong>and</strong> installations with projection; his subsequent<br />
output, like most artists under <strong>the</strong> dictatorship in <strong>the</strong> 1970s, underwent<br />
enormous adaptation in order to survive. 49 But when placed alongside <strong>the</strong><br />
early work <strong>of</strong> Minujín <strong>and</strong> Masotta, The Worker’s Family consolidates a<br />
narrative <strong>of</strong> performance- based work in ’60s Argentina as one <strong>of</strong> adopting<br />
particularly aggressive strategies <strong>of</strong> reifi cation, frequently played out in<br />
relation to class. Although <strong>the</strong> best- known works <strong>of</strong> this period have a<br />
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