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

More documents

Recommendations

Info

artificial hells part, a Western fantasy). The reality of daily life under these regimes necessitates a more sober understanding of the artistic gestures achieved there, and appreciation of the consummate subtlety with which so many of them were undertaken. 162
6 Incidental People: APG and Community Arts The post- ’68 period in Britain saw the formation of two attempts to rethink the artist’s role in society. The first was set in motion in 1966, and its politics were contested within years of its inception: the Artist Placement Group (APG), founded by the artist John Latham and his then- partner Barbara Steveni, and which continued until 1989 when it was renamed O+I. 1 The second is the community arts movement, whose emergence in the UK forms part of an international push across Europe and North America to democratise and facilitate lay creativity, and to increase accessibility to the arts for less privileged audiences. These developments represent two distinct poles of rethinking the artist’s place in society in the late 1960s and 1970s: one in which the artist undertakes a placement with a company or government body, and one in which the individual artist assumes the role of facilitating creativity among ‘everyday’ people. It should be noted that the academic literature on both of these movements is scanty: the bulk of publications on community arts tend to comprise reports and evaluations of specific projects rather than a synthesised narrative; the APG have only recently begun to be the focus of historical re- evaluation in the UK, in part due to the death of John Latham in 2006 and the deposit of APG’s archive at Tate in 2004 (at the time of writing still uncatalogued), but also due to the interest of a younger generation of artists and curators who see parallels between their own intervention- based activities and those of APG. 2 I. The Formation of APG APG is usually credited as the brainchild of John Latham (1921– 2006), a mixed- media artist peripherally involved with Assemblage and Fluxus during the 1960s. 3 He began making reliefs and assemblages from 1954 onwards, using the then new technology of spray paint; he also made fi lms, actions, and participated in the Destruction in Art Symposium at the 163
Page 1 and 2:
ARTIFICIAL HELLS Participatory Art
Page 3 and 4:
Contents Introduction 1 1 The Socia
Page 5 and 6:
Introduction All artists are alike.
Page 7 and 8:
introduction framed within a tradit
Page 9 and 10:
introduction education). Both of th
Page 11 and 12:
introduction and troubling forms of
Page 13:
introduction participatory art desp
Page 16 and 17:
artificial hells extras of the spec
Page 18 and 19:
artificial hells denotes self- real
Page 20 and 21:
artificial hells but because the po
Page 22 and 23:
artificial hells triple enemy of fo
Page 24 and 25:
artificial hells Oda Projesi, FAIL#
Page 26 and 27:
artificial hells Thomas Hirschhorn,
Page 28 and 29:
Rachel Whiteread, House, 1993 Lorai
Page 30 and 31:
artificial hells historical avant-
Page 32 and 33:
artificial hells the drawbacks of t
Page 34 and 35:
artificial hells sensoriality from
Page 36 and 37:
artificial hells the same time, Del
Page 38 and 39:
artificial hells politically self-
Page 40 and 41:
artificial hells societies. 76 Beca
Page 42 and 43:
artificial hells passive always end
Page 44 and 45:
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 fi gure is Kerzhen
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, fl yer for t
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 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 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 162 and 163: artificial hells Collective Actions
Page 164 and 165: artificial hells was a society of p
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
Page 213 and 214: former west ‘No Man’s Time’ c
Page 215 and 216: former west The artists were asked
Page 217 and 218:
Carl Michael von Hausswolff, Andrew
Page 219 and 220:
former west artists at this time. T
Page 221:
former west however, result in a fo
Page 224 and 225:
artificial hells specialist art wor
Page 226 and 227:
artificial hells performing music)
Page 228 and 229:
artificial hells specifi c abilitie
Page 230 and 231:
artificial hells Martin Creed’s W
Page 232 and 233:
artificial hells Artur Żmijewski,
Page 234 and 235:
artificial hells Marina Abramovic,
Page 236 and 237:
artificial hells provide not just t
Page 238 and 239:
artificial hells ends. 34 As such,
Page 240 and 241:
artificial hells economic instituti
Page 242 and 243:
artificial hells essential in this
Page 245 and 246:
9 Pedagogic Projects: ‘How do you
Page 247 and 248:
pedagogic projects southern hemisph
Page 249 and 250:
pedagogic projects curriculum, offe
Page 251 and 252:
pedagogic projects however, was not
Page 253 and 254:
pedagogic projects re- installed ev
Page 255 and 256:
pedagogic projects uncanny sense of
Page 257 and 258:
Paul Chan, Waiting for Godot in New
Page 259 and 260:
pedagogic projects Chan identifi es
Page 261 and 262:
pedagogic projects kids and the sci
Page 263 and 264:
pedagogic projects In 2005, Żmijew
Page 265 and 266:
pedagogic projects the history of B
Page 267 and 268:
pedagogic projects play, only note
Page 269 and 270:
pedagogic projects into which the p
Page 271 and 272:
pedagogic projects framework applie
Page 273 and 274:
pedagogic projects rather than a cr
Page 275 and 276:
pedagogic projects and Lia Perjovsc
Page 277 and 278:
pedagogic projects to morality. Nea
Page 279 and 280:
Conclusion The dominant narrative t
Page 281 and 282:
conclusion emergence of the contemp
Page 283 and 284:
conclusion I. The Ladder and the Co
Page 285 and 286:
Christoph Schlingensief, Please Lov
Page 287 and 288:
conclusion of art to a question of
Page 289 and 290:
Acknowledgements This book took a l
Page 291 and 292:
Introduction Notes 1 Jeremy Deller:
Page 293 and 294:
notes to pages 11- 13 University of
Page 295 and 296:
notes to pages 18- 23 28 I say schi
Page 297 and 298:
notes to pages 29- 33 56 ‘Suitabl
Page 299 and 300:
notes to pages 37- 43 79 ‘This ki
Page 301 and 302:
notes to pages 46- 9 14 Michael Kir
Page 303 and 304:
notes to pages 54- 8 Mystery- Bouff
Page 305 and 306:
notes to pages 63- 9 82 Kerzhentsev
Page 307 and 308:
notes to pages 74- 78 the Great War
Page 309 and 310:
notes to pages 80- 3 ‘40˚ au- de
Page 311 and 312:
notes to pages 86- 9 its emphasis o
Page 313 and 314:
notes to pages 94- 8 theatre. In th
Page 315 and 316:
notes to pages 100- 3 89 Lebel, int
Page 317 and 318:
notes to pages 106- 9 Columba, 1967
Page 319 and 320:
notes to pages 111- 2 designed to t
Page 321 and 322:
notes to pages 117- 9 ‘Un mongolo
Page 323 and 324:
notes to pages 124- 6 taken, most o
Page 325 and 326:
notes to pages 131- 2 at having to
Page 327 and 328:
notes to pages 135- 8 employed to d
Page 329 and 330:
notes to pages 141- 2 general of th
Page 331 and 332:
notes to pages 146- 7 suspect of ha
Page 333 and 334:
notes to pages 150- 4 almost no int
Page 335 and 336:
notes to pages 159- 60 What I wante
Page 337 and 338:
notes to pages 165- 7 Lawson, Julie
Page 339 and 340:
notes to pages 170- 1 28 Ibid., p.
Page 341 and 342:
notes to pages 173- 5 48 See Brisle
Page 343 and 344:
notes to pages 179- 81 which saw cr
Page 345 and 346:
notes to pages 185- 8 limited, and
Page 347 and 348:
notes to pages 194- 8 4 In his intr
Page 349 and 350:
notes to pages 202- 6 their work, i
Page 351 and 352:
notes to pages 209- 14 48 Rirkrit T
Page 353 and 354:
notes to pages 217- 23 Gonzalez- Fo
Page 355 and 356:
notes to pages 226- 9 using the fi
Page 357 and 358:
notes to pages 234- 8 34 In other w
Page 359 and 360:
notes to pages 242- 3 e- fl ux jour
Page 361 and 362:
notes to pages 251- 7 de Aizpuru in
Page 363 and 364:
notes to pages 266- 8 49 Jacques Ra
Page 365 and 366:
notes to pages 273- 6 70 ‘Patentl
Page 367 and 368:
notes to pages 283- 4 newspaper, in
Page 369 and 370:
illustration credits Chapter 3 p. 7
Page 371 and 372:
illustration credits p. 184 (top) T
Page 373 and 374:
illustration credits p. 235 Pierre
Page 376 and 377:
Abramovic, Marina, 219, 230 A.C.A.D
Page 378 and 379:
Classic Escape (book), 149 Clegg &
Page 380 and 381:
Hackney Writers Workshop, 173 Hagoo
Page 382 and 383:
Moreau, Gustave, 95 Müller, Christ
Page 384 and 385:
‘Sonsbeek 93,’ (exhibition) 198
Page 386:
On the Typeface Artifi cial Hells i
show all

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?