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

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artificial hells Collective Actions Group, Ten Appearances, 1981 Collective Actions Group, Ten Appearances, 1981 each of them. Kabakov describes in detail the emotional rollercoaster that ensued: from anxiety (about how long he would be standing in the cold) to fear (suspecting the organisers of sadism) to sheer joy and ‘mystic melancholy’ on fi nally reaching the end of the thread, to which was affi xed a piece of paper bearing the ‘factographic text’ (the name of the organisers, time, date and place of the action). 85 At this point it was up to the participants to decide what happened next. Eight of them walked back out of the forest to rejoin the organisers; two did not return and got 158
the social under socialism a train back to Moscow. Those who returned were given a photograph of themselves emerging from the forest, captioned ‘The appearance of [name] on the fi rst of February, 1981.’ This simulated photographic documentation had been taken a few weeks earlier but was not differentiable from the actual appearance of the participants as they emerged from the forest. Monastyrsky also uses the phrase ‘empty action’ to refer to these photographs: a mere sign of the elapsed time between the end of the fi rst phase of the action for the participants (receiving the factographic text) and their reappearance in the fi eld (‘the signifi ed and culminating event in the structure of the action’). 86 Both the act and the image are empty signifi ers; the meaning is formulated subsequently by refl ection on the totality of the events experienced. Of course, the poignant fact that two participants, Nekrasov and Zhigalov, didn’t return to the group did not mean that the work was a failure. Rather, Monastyrsky asserted, it showed that the participants had emerged from a ‘non- artistic, non- artifi cially- constructed space’ – in other words, an everyday reality in which they were capable of acting of their own free will. 87 This, Monastyrsky reasoned, was why the same people kept coming back to their events over the course of fi fteen years: the ‘pretextual’ nature of the group’s experiences ensured that participants were continually intrigued, as well as continually motivated to write descriptions and analyses. Since it was near impossible to scrutinise the events as they were happening, these hermeneutical efforts had a compensatory aspect, endlessly chasing a meaning that remained elusive, precisely because the generation of different interpretative positions was the meaning. 88 The surfeit of texts that resulted from these actions were collected into books every three to fi ve years, and are published in Russian and German under the title Trips to the Countryside; the group is currently at work on an eleventh volume. 89 Volume two, from 1983, for example, has a typical structure: a theoretical preface by Monastyrsky; descriptions of the events with photographs; an appendix of documentation, which includes the schema of Ten Appearances and a list of slides; texts by participants (including Kabakov); photographs and descriptions of actions by individual artists that relate to CAG’s actions, such as Monastyrsky’s Flat Cap (1983); commentaries and photographs. Later volumes also include interviews and a list of videos, produced after Sabine Hänsgen joined the group from Germany. Boris Groys has observed how CAG’s performances were ‘meticulously, almost bureaucratically, documented, commented on, and archived’. 90 This textual production is one of the dominant characteristics of their practice, and positions it as the inverse of the impulse to make participatory art in Western cultures – which is invariably opposed to the atomisation of social relations under consumer spectacle. Groys has argued that Soviet society, by contrast, 159
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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.
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artificial hells a critique of art
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Groupe Recherche d’Art Visuel, it
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artificial hells Happenings in Euro
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artificial hells Lebel pushed a pra
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artificial hells Jean-Jacques Lebel
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artificial hells Most of the time,
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artificial hells then this also req
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artificial hells alternative; toget
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artificial hells Brazil in that it
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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 144 and 145: Stano Filko, Alex Mlynárčik, Happ
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 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
Page 194 and 195: artificial hells In other words, co
Page 197 and 198: 7 Former West: Art as Project in th
Page 199 and 200: former west In tracing the re- emer
Page 201 and 202: former west Green, whose proposal d
Page 203 and 204: former west (building, residents, a
Page 205 and 206: former west brought back from their
Page 207 and 208: former west artists and collectives
Page 209 and 210: former west As Dion indicates, this
Page 211 and 212: 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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