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

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artificial hells In other words, community arts today tends to self- censor out of fear that underprivileged collaborators will not be able to understand more disruptive modes of artistic production. Aesthetic quality, which had been deliberately left off the agenda of the Association of Community Artists (founded in 1972), forms the most fraught core of this debate. It is important to remember that the community arts movement rejected this question as synonymous with cultural hierarchy because at the time (the ’70s and ’80s) the idea of funding culture by and for the marginalised (the working classes, ethnic minorities, women, LGBT, etc.) was automatically dismissed by the establishment as risible and necessarily void of quality. On the other hand, advocating process over product did nothing to rethink the problem of devising alternative criteria by which to reframe evaluation. By avoiding questions of artistic criteria, the community arts movement unwittingly perpetuated the impression that it was full of good intentions and compassion, but ultimately not talented enough to be of broader interest. One of the key problems here – which has many parallels with socially engaged art today – is the fact that community arts has no secondary audience: it has no discursive framing nor an elaborated culture of reception to facilitate comparison and analysis with similar projects, because community art is not produced with such a critical audience in mind. Comparison and evaluation create hierarchy, which is inimical to the principle of equality underlying the community arts project. This prioritisation of individual expression over critical self- examination is, ironically, one of the main reasons for community arts’ ghettoisation by the 1980s: a lack of public critical discourse ensured that the stakes were kept low, rendering community art harmless and unthreatening to social and cultural stability. In the late 1960s, community arts was highly oppositional, since funding for culture was in the hands of the upper classes, who evaluated aesthetic quality on the basis of established culture. Today, when the majority of people in the West have the means to be a producer of their own images and to upload them to a global audience via Flickr, Facebook, and so on, such a dehierarchising agenda arguably has less urgency – even while the bases of these networks are unquestionably commercial, and access to technology is also a class issue. A levelling of access to cultural production nevertheless calls into question the difference between a work of art and social networking. Contemporary art has arguably become a mass- cultural practice, but art requires a spectator: who today is possibly able to view the immeasurable amount of mass contemporary art that exists online? Perhaps, as Boris Groys notes, there is no more society of the spectacle, only a ‘spectacle without spectators’. 100 Yet at the same time as virtual communities proliferated in the 1990s, the lure of face- to- face interactions seemed to grow stronger amongst professional artists. 101 Long- term, process- based projects with 190
incidental people specifi c constituencies – of the kind initiated by community arts – return with renewed vigour in this decade under the frame of site specifi city. This third iteration of the ‘social turn’ forms the focus of the following chapter and fi nal section of this book. 191
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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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artificial hells with photographs o
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artificial hells decision to provid
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artificial hells 1965), an ambitiou
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artificial hells Oscar Bony, The Wo
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artificial hells ephemerality of wo
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artificial hells more light- hearte
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artificial hells The work consists
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artificial hells refi nery owners h
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artificial hells connected this opp
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artificial hells started digging gr
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artificial hells aesthetic programm
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artificial hells non- aligned forme
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artificial hells 1977. Although the
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artificial hells Milan Knížák, A
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artificial hells investigated An Ev
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artificial hells form of a stream o
Page 144 and 145: Stano Filko, Alex Mlynárčik, Happ
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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
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
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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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