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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artificial hells<br />
extras <strong>of</strong> <strong>the</strong> spectacle.’ 5 As <strong>the</strong> philosopher Jacques Rancière points out,<br />
‘<strong>the</strong> “critique <strong>of</strong> <strong>the</strong> spectacle” <strong>of</strong>ten remains <strong>the</strong> alpha <strong>and</strong> <strong>the</strong> omega <strong>of</strong><br />
<strong>the</strong> “politics <strong>of</strong> art” ’. 6<br />
Alongside a discourse <strong>of</strong> spectacle, advanced art <strong>of</strong> <strong>the</strong> last decade has<br />
seen a renewed affi rmation <strong>of</strong> collectivity <strong>and</strong> a denigration <strong>of</strong> <strong>the</strong> individual,<br />
who becomes synonymous with <strong>the</strong> values <strong>of</strong> Cold War liberalism<br />
<strong>and</strong> its transformation into neoliberalism, that is, <strong>the</strong> economic practice<br />
<strong>of</strong> private property rights, free markets <strong>and</strong> free trade. 7 Much <strong>of</strong> this<br />
discussion has been given impetus by Italian workerist <strong>the</strong>ories <strong>of</strong><br />
contemporary labour. In this framework, <strong>the</strong> virtuosic contemporary<br />
artist has become <strong>the</strong> role model for <strong>the</strong> fl exible, mobile, non- specialised<br />
labourer who can creatively adapt to multiple situations, <strong>and</strong> become<br />
his/ her own br<strong>and</strong>. What st<strong>and</strong>s against this model is <strong>the</strong> collective:<br />
collaborative practice is perceived to <strong>of</strong>fer an automatic counter- model<br />
<strong>of</strong> social unity, regardless <strong>of</strong> its actual politics. As Paolo Virno has noted,<br />
if <strong>the</strong> historic avant- garde were inspired by, <strong>and</strong> connected to, centralised<br />
political parties, <strong>the</strong>n ‘today’s collective practices are connected to<br />
<strong>the</strong> decentred <strong>and</strong> heterogeneous net that composes post- Fordist social<br />
co- operation’. 8 This social network <strong>of</strong> an incipient ‘multitude’ has been<br />
valorised in exhibitions <strong>and</strong> events like ‘Collective Creativity’ (WHW,<br />
2005), ‘Taking <strong>the</strong> Matter into Common H<strong>and</strong>s’ (Maria Lind et al., 2005),<br />
<strong>and</strong> ‘Democracy in America’ (Nato Thompson, 2008). Along with<br />
‘utopia’ <strong>and</strong> ‘revolution’, collectivity <strong>and</strong> collaboration have been some<br />
<strong>of</strong> <strong>the</strong> most persistent <strong>the</strong>mes <strong>of</strong> advanced art <strong>and</strong> exhibition- making <strong>of</strong><br />
<strong>the</strong> last decade. Countless works have addressed collective desires across<br />
numerous lines <strong>of</strong> identifi cation – from Johanna Billing’s plaintive videos<br />
in which young people are brought toge<strong>the</strong>r, <strong>of</strong>ten through music (Project<br />
for a Revolution, 2000; Magical World, 2005) to Kateřina Šedá inviting<br />
everyone in a small Czech village to follow her m<strong>and</strong>atory programme <strong>of</strong><br />
activities for one day (There’s Nothing There, 2003), from Sharon Hayes’<br />
participatory events for LGBT communities (Revolutionary Love, 2008)<br />
to Tania Bruguera’s performance in which blind people dressed in military<br />
garb st<strong>and</strong> on <strong>the</strong> streets soliciting sex (Consummated Revolution,<br />
2008). Even if a work <strong>of</strong> art is not directly participatory, references to<br />
community, collectivity (be this lost or actualised) <strong>and</strong> revolution are<br />
suffi cient to indicate a critical distance towards <strong>the</strong> neoliberal new world<br />
order. Individualism, by contrast, is viewed with suspicion, not least<br />
because <strong>the</strong> commercial art system <strong>and</strong> museum programming continue<br />
to revolve around lucrative single fi gures.<br />
<strong>Participatory</strong> projects in <strong>the</strong> social fi eld <strong>the</strong>refore seem to operate with a<br />
tw<strong>of</strong>old gesture <strong>of</strong> opposition <strong>and</strong> amelioration. They work against dominant<br />
market imperatives by diffusing single authorship into collaborative<br />
activities that, in <strong>the</strong> words <strong>of</strong> Kester, transcend ‘<strong>the</strong> snares <strong>of</strong> negation <strong>and</strong><br />
self- interest’. 9 Instead <strong>of</strong> supplying <strong>the</strong> market with commodities,<br />
12