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 />
1976. Ra<strong>the</strong>r, <strong>the</strong> artist considers himself to have been testing out techniques<br />
from performance in a social context, ‘to be a model for o<strong>the</strong>rs to<br />
use in different situations if it proved to have some virtue’. 51 He never<strong>the</strong>less<br />
always includes <strong>the</strong> Peterlee placement in his exhibition<br />
catalogues, listed as a ‘project’, ra<strong>the</strong>r than as a work <strong>of</strong> art; in o<strong>the</strong>r<br />
words, it remains authored, but has an ambiguous status, because for<br />
Brisley, <strong>the</strong> Peterlee archive has a social function, ra<strong>the</strong>r than an aes<strong>the</strong>tic<br />
one. 52 As I will elaborate in <strong>the</strong> next chapter, <strong>the</strong> word ‘project’ has<br />
subsequently come to replace ‘work <strong>of</strong> art’ as a descriptor for long- term<br />
artistic undertakings in <strong>the</strong> social sphere. Brisley keeps apart two<br />
domains that in subsequent decades many artists have attempted to map<br />
onto each o<strong>the</strong>r, <strong>and</strong> <strong>the</strong> distinction he upholds (that nominalism is inadequate:<br />
art is only art if it’s recognised beyond <strong>the</strong> frame <strong>of</strong> <strong>the</strong> artist) is<br />
not a position shared by <strong>the</strong> more radical practitioners <strong>of</strong> participatory<br />
art today.<br />
APG’s activities go straight to <strong>the</strong> heart <strong>of</strong> contemporary debates<br />
about <strong>the</strong> functionality <strong>of</strong> art, <strong>the</strong> desirability (or not) <strong>of</strong> it having social<br />
goals, <strong>and</strong> <strong>the</strong> possibility <strong>of</strong> multiple modes <strong>of</strong> evaluation. It seems indisputable<br />
that APG sought to give <strong>the</strong> artist more power within society,<br />
ra<strong>the</strong>r than empowering workers on <strong>the</strong> lower rungs <strong>of</strong> <strong>the</strong> organisations<br />
where placements were held. To this extent, its goals seem more perceptual<br />
ra<strong>the</strong>r than social: to change <strong>the</strong> awareness <strong>of</strong> those working within<br />
organisations, but not actually to galvanise insurrection. This much is<br />
self- evident. However, it is arguably more productive to focus on APG’s<br />
contribution to one <strong>of</strong> <strong>the</strong> largest problems concerning socially engaged<br />
practice: <strong>the</strong> question <strong>of</strong> evaluation, <strong>and</strong> over what period <strong>of</strong> time such<br />
judgements should be made.<br />
Latham frequently asserted that <strong>the</strong> world needs to develop a new mode<br />
<strong>of</strong> accountancy for art – hence <strong>the</strong> Delta unit, which relocated value away<br />
from fi nance <strong>and</strong> onto ‘units <strong>of</strong> attention’ over time. And yet, in APG’s<br />
later writings, we fi nd <strong>the</strong> group resorting to a monetary overestimation <strong>of</strong><br />
<strong>the</strong> artists’ contributions to society, such as valuing Ian Breakwell’s contribution<br />
during his fi rst year at <strong>the</strong> DHSS to be £3.5 million. It seems telling<br />
that this fi nancial calculation becomes <strong>the</strong> criterion <strong>of</strong> success, ra<strong>the</strong>r than a<br />
conceptual or artistic value (even if artists like Brisley did not consider<br />
<strong>the</strong>ir projects to be art). In 1977, Latham mischievously sent invoices for<br />
‘services rendered’ to <strong>the</strong> British government – one for a million pounds on<br />
behalf <strong>of</strong> APG <strong>and</strong> one for half a million pounds for his own services in<br />
‘creating a successful C20th art movement’ – <strong>and</strong> proceeded to stop paying<br />
taxes from that year on. Although <strong>the</strong> invoice was clearly a provocation,<br />
his translation <strong>of</strong> artistic practice into monetary value seems hard to square<br />
with APG’s determination to rethink conventional modes <strong>of</strong> accounting.<br />
This tendency to focus on demonstrable outcomes persisted in APG’s<br />
supporters as late as 1992, when The Journal <strong>of</strong> <strong>Art</strong> <strong>and</strong> <strong>Art</strong> Education ran an<br />
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