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 />
dem<strong>and</strong>s costly, heterogeneous <strong>and</strong> complex arrangements, an ability to<br />
arrive at an underst<strong>and</strong>ing with distant, multiple actors who hold very<br />
different positions . . . <strong>and</strong> whom he must interest, persuade, win over? 67<br />
It is telling that in <strong>the</strong> projective city, a successful project is not one that has<br />
intrinsic value, but one that allows <strong>the</strong> worker to integrate him/ herself into a<br />
new project afterwards; in o<strong>the</strong>r words, a good project is one that is generative<br />
<strong>of</strong> fur<strong>the</strong>r projects through <strong>the</strong> connections he/ she has established. The<br />
parallels with artistic practice are highly suggestive. Although <strong>the</strong> project is<br />
introduced as a term in <strong>the</strong> 1990s to describe a more embedded <strong>and</strong> socially/<br />
politically aware mode <strong>of</strong> artistic practice, it is equally a survival strategy for<br />
creative individuals under <strong>the</strong> uncertain labour conditions <strong>of</strong> neoliberalism. 68<br />
What is intended (in art) as a radical overhaul <strong>of</strong> <strong>the</strong> portable work <strong>of</strong> art <strong>and</strong><br />
its lack <strong>of</strong> social agency is at <strong>the</strong> same time an internalisation <strong>of</strong> <strong>the</strong> ’60s logic<br />
<strong>of</strong> post- studio service- based art that, by <strong>the</strong> 1990s, comes to prioritise personal<br />
qualities <strong>of</strong> interaction ra<strong>the</strong>r than <strong>the</strong> production <strong>of</strong> objects: personality<br />
traits (such as adaptability, nimbleness, creativity <strong>and</strong> risk) replace <strong>the</strong><br />
production <strong>of</strong> visually resolved ‘works’ or ideas. When faced with a slew <strong>of</strong><br />
site- responsive projects in exhibitions, biennials <strong>and</strong> ‘project spaces’, it is<br />
tempting to speculate that <strong>the</strong> most successful artists are those who can integrate,<br />
collaborate, be fl exible, work with different audiences, <strong>and</strong> respond to<br />
<strong>the</strong> exhibition’s <strong>the</strong>matic framework.<br />
Today it is a familiar argument to say that fl exibility <strong>and</strong> indeterminacy<br />
<strong>of</strong> labour are a direct consequence <strong>of</strong> <strong>the</strong> withdrawal <strong>of</strong> manual skills in<br />
industry (<strong>and</strong> in art), <strong>and</strong> both result in long- term projects more akin to<br />
services than commodities (visual objects). 69 When <strong>the</strong>se new process-<br />
based experiments are put into conjunction with old formats <strong>of</strong> display like<br />
<strong>the</strong> exhibition, <strong>the</strong>re is necessarily a confl ict between <strong>the</strong>se models. Often,<br />
for example, <strong>the</strong>re is barely any object to look at, <strong>and</strong> <strong>the</strong> role <strong>of</strong> <strong>the</strong> audience<br />
is severely limited, if not foreclosed altoge<strong>the</strong>r. As such, experimental<br />
exhibitions like ‘Culture in Action’, while striving to democratise <strong>the</strong><br />
production <strong>and</strong> reception <strong>of</strong> art, are also in a certain sense pr<strong>of</strong>oundly<br />
unequal (albeit in a completely different sense), since <strong>the</strong>y privilege those<br />
who do not need to be mobile: those who can participate in <strong>the</strong> project are<br />
those who can spend <strong>the</strong> most time on site. Participation <strong>and</strong> spectatorship<br />
seem to be mutually exclusive terms, mirrored in <strong>the</strong> incompatibility <strong>of</strong> <strong>the</strong><br />
project <strong>and</strong> <strong>the</strong> exhibition.<br />
The connection between project- based art <strong>and</strong> neoliberalism is just one<br />
side <strong>of</strong> <strong>the</strong> story, however. In <strong>the</strong> post- ’89 context, <strong>the</strong>re is also <strong>the</strong> question<br />
<strong>of</strong> artists’ own political allegiances <strong>and</strong> <strong>the</strong> extent to which <strong>the</strong>se impact upon<br />
<strong>the</strong>ir production. For <strong>the</strong> US/ Germans, project work seems to mark <strong>the</strong><br />
desire for a pre- existing political position to which <strong>the</strong> artists <strong>and</strong> audience<br />
could subscribe, but for relational artists, it seems to denote an aversion to<br />
such a position, since this led to didactic criticality in past art. Both approaches,<br />
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