Participatory Art and the Politics of Spectatorship - autonomous ...

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Stano Filko, Alex Mlynárčik, Happsoc I, 1965, Bratislava, 1 May 1965 Stano Filko, Alex Mlynárčik, Happsoc I, 1965, Bratislava, 9 May 1965
the social under socialism II. Slovakia: Permanent Manifestations The provocative forms of witting and unwitting participation initiated by Knížák in Prague can be contrasted with artistic events in Bratislava during the same period. If Knížák’s early work was resolutely avant- garde, seeking disruption as a means to higher consciousness of everyday experience, then the Slovakian artist Alex Mlynárčik was more interested in consensual, optimistic and vernacular forms of collective activity that had their roots in rural tradition. 34 The documentation of his works bear a striking resemblance to recent socially engaged art, although today Mlynárčik is something of a controversial fi gure (as is Knížák, but for different reasons). 35 He is also overlooked historically, as a younger generation of Slovakian artists have found a greater affi nity with his contemporaries Stano Filko (b.1937) and Július Koller (1939– 2007). 36 Mlynárčik began working in the early ’60s, making unremarkable mixed- media compositions on wood. On first visiting Paris in 1964 he found an immediate affi nity with Nouveau Réalisme (César, Arman, Saint Phalle, Christo), the impact of which can be seen in the development of his ‘permanent manifestations’ (1965 onwards), three- dimensional assemblages overlaid with public graffi ti as a kind of consumer palimpsest. 37 It can also be seen in Happsoc I (a neologism of ‘happenings’, ‘happy’, ‘society’ and ‘socialism’) by Mlynárčik, Stano Filko and the theorist Zita Kostrová. The trio announced a series of ‘realities’ to take place in Bratislava during the week of 2– 9 May 1965. On 1 May, the three members wrote a manifesto explaining their planned artistic action and idea of art, which was founded upon the then current vogue for nominalism, that is, excising an experience or event from the fl ow of everyday life and declaring it to be a work of art. 38 In this particular instance, it was the whole city of Bratislava and its society that was announced as an exhibition. However, the manifesto also went beyond the reductiveness of neo- Duchampian nominalism by including a parody of a national census that had taken place the previous month, listing twenty- three types of object and their number to be found in Bratislava: one castle, one Danube, 142,090 lampposts, 128,729 television aerials, six cemeteries, 138,936 females, 128,727 males, 49,991 dogs, and so on. The manifesto and data were sent to 400 people in the form of a printed invitation to Happsoc I, which designated the city of Bratislava during the week of 1– 9 May as a work of art. This period was framed by two public holidays: Workers’ Day, a key event in the socialist calendar, and 9 May, which commemorated the liberation of Slovakia by the Soviet Army in 1945. 39 It seems evident that this framing sought to draw attention to two types of participation: offi cial parades, on the one hand, and the artists’ creation of an invisible, involuntary and imaginary participation, on the other. Interpretations of Happsoc I somewhat depend upon one’s translation of 141
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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 fi gure is Kerzhen
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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, fl yer for t
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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.
Page 94 and 95: artificial hells a critique of art
Page 96 and 97: Groupe Recherche d’Art Visuel, it
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 refi nery owners h
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 146 and 147: artificial hells ‘happsoc’: ‘
Page 148 and 149: artificial hells Alex Mlynárčik,
Page 150 and 151: artificial hells nature of artistic
Page 152 and 153: III. Problematics of Public Space a
Page 154 and 155: artificial hells Jan Mlčoch, Class
Page 156 and 157: artificial hells posters around the
Page 158 and 159: artificial hells It is in this lite
Page 160 and 161: artificial hells a description of t
Page 162 and 163: artificial hells Collective Actions
Page 164 and 165: artificial hells was a society of p
Page 166 and 167: artificial hells part, a Western fa
Page 168 and 169: artificial hells London ICA in 1966
Page 170 and 171: artificial hells yet the driving fo
Page 172 and 173: artificial hells Brisley felt that
Page 174 and 175: artificial hells company publicity
Page 176 and 177: artificial hells III. Placements in
Page 178 and 179: artificial hells 1976. Rather, the
Page 180 and 181: artificial hells anticipate the ‘
Page 182 and 183: artificial hells Way to Run a Railr
Page 184 and 185: artificial hells Children outside t
Page 186 and 187: artificial hells them in the twenti
Page 188 and 189: artificial hells The Blackie, Sanct
Page 190 and 191: artificial hells The Blackie, ‘To
Page 192 and 193: 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 specifi c abilitie
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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 identifi es
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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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Introduction Notes 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 fi
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notes to pages 234- 8 34 In other w
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notes to pages 242- 3 e- fl ux jour
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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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Abramovic, Marina, 219, 230 A.C.A.D
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Classic Escape (book), 149 Clegg &
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Hackney Writers Workshop, 173 Hagoo
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Moreau, Gustave, 95 Müller, Christ
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‘Sonsbeek 93,’ (exhibition) 198
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On the Typeface Artifi cial Hells i
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