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

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artificial hells Dmitri Gutov, The Last Supper, 1996 with Troncy’s shows, there were special performances during the private view; however, during the opening, relations between the artists grew openly antagonistic. Dominating the centre of the exhibition hall was a large installation by Chinese artist Wenda Gu, who had collected hair from Russia and Sweden and used it to create a large, tunnel- like structure; in the middle of this was suspended a rocket, on loan from the Swedish army. According to Gu, the installation was meant to symbolize the collaboration between East and West. Brener, however, objected to the installation’s dominant position (and perhaps also to its heavy- handed symbolism). After his ninety- minute drum performance The Language of Emotion, Brener began to destroy Wenda Gu’s installation by tearing down the tunnel of hair – arguing that it received far more fl oor space than any other work, and symbolised the failure of the exhibition project as a whole. After this, Oleg Kulik, who was naked and chained to a kennel, executing one of his well- known dog performances, also became increasingly hostile. Soft nibbles turned into bites and assaults. Trying to push Kulik back inside his kennel, Jan Åman kicked the artist in the face, which provoked the artist to become yet more violent; the police were called in and Kulik was arrested, charged and later released with a fi ne. 212
Carl Michael von Hausswolff, Andrew M. McKenzie and Ulf Bilting, Exchange of Mental, Physical and Un-detected Substances of Known and Un-known Matter During a Period of Four Nights, 1996 Installation view of Wenda Gu’s United Nations – Sweden and Russia Monument, 1996, after being destroyed by Alexander Brener
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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
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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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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: former west The artists were asked
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
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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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