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

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This edition fi rst published by Verso 2012 © Claire Bishop 2012 All rights reserved The moral rights of the author have been asserted 1 3 5 7 9 10 8 6 4 2 Verso UK: 6 Meard Street, London W1F 0EG US: 20 Jay Street, Suite 1010, Brooklyn, NY 11201 www.versobooks.com Verso is the imprint of New Left Books ISBN- 13: 978- 1- 84467- 690- 3 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging- in- Publication Data Bishop, Claire. Artifi cial hells : participatory art and the politics of spectatorship / by Claire Bishop. – 1st [edition]. pages cm Includes bibliographical references and index. ISBN 978- 1- 84467- 690- 3 – ISBN 978- 1- 84467- 796- 2 (ebook) 1. Interactive art. I. Title. N6494.I57B57 2012 709.04’07– dc23 2012010607 Typeset in Fournier by Hewer Text, Edinburgh Printed in the US by Maple Vail
Contents Introduction 1 1 The Social Turn: Collaboration and Its Discontents 11 2 Artifi cial Hells: The Historic Avant- garde 41 3 Je participe, tu participes, il participe . . . 77 4 Social Sadism Made Explicit 105 5 The Social Under Socialism 129 6 Incidental People: APG and Community Arts 163 7 Former West: Art as Project in the Early 1990s 193 8 Delegated Performance: Outsourcing Authenticity 219 9 Pedagogic Projects: ‘How do you bring a classroom to life as if it were a work of art?’ 241 Conclusion 275 Notes 285 Acknowledgements 363 Illustration Credits 365 Index 373
Page 1: ARTIFICIAL HELLS Participatory Art
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
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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
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Stano Filko, Alex Mlynárčik, Happ
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artificial hells ‘happsoc’: ‘
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artificial hells Alex Mlynárčik,
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artificial hells nature of artistic
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III. Problematics of Public Space a
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artificial hells Jan Mlčoch, Class
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artificial hells posters around the
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artificial hells It is in this lite
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artificial hells a description of t
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artificial hells Collective Actions
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artificial hells was a society of p
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artificial hells part, a Western fa
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artificial hells London ICA in 1966
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artificial hells yet the driving fo
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artificial hells Brisley felt that
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artificial hells company publicity
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artificial hells III. Placements in
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artificial hells 1976. Rather, the
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artificial hells anticipate the ‘
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artificial hells Way to Run a Railr
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artificial hells Children outside t
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artificial hells them in the twenti
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artificial hells The Blackie, Sanct
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artificial hells The Blackie, ‘To
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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
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former west In tracing the re- emer
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former west Green, whose proposal d
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former west (building, residents, a
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former west brought back from their
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former west artists and collectives
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former west As Dion indicates, this
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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
Page 295 and 296:
notes to pages 18- 23 28 I say schi
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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
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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
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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
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
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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
Page 384 and 385:
‘Sonsbeek 93,’ (exhibition) 198
Page 386:
On the Typeface Artifi cial Hells i
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