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

artificial hells
From a contemporary perspective, one of Beuys’s most salient later
projects is 100 Days of the Free International University, organised for
Documenta 6 (1977). Thirteen interdisciplinary workshops, open to the
public, featured trade unionists, lawyers, economists, politicians, journalists,
community workers, educationalists and sociologists speaking
alongside actors, musicians and young artists. 13 In moving beyond the
humanities to embrace the social sciences, Beuys prefi gures an important
strand of recent curatorial and artistic activity. 14 However, there are important
differences between Beuys and artists working today: Beuys’s
commitment to free education was for the most part dependent on his own
charismatic leadership, rendering unclear the line between education and
one- man performance; today’s artists, by contrast, are less likely to present
themselves as the central pedagogic fi gure. They outsource the work of
lecturing and teaching to specialists in the fi eld – in line with the broader
tendency in recent performance art to delegate performance to other people
(as discussed in the previous chapter). Very little attention has been paid in
Anglophone art history to Beuys’s activities of the 1970s, despite the fact
that they form the most central precursor of contemporary socially
engaged art, intersecting artistic goals with social, political and pedagogic
ambitions. Only Jan Verwoert provides a nuanced reading of
Beuys’s persona as a teacher in the 1970s (and it is telling that his parents
were both students of the artist). He argues that Beuys’s output should be
characterised as a hyper- intensity of pedagogic and political commitment
– an excess that both reinforced and undermined his institutional position.
Beuys was both ‘too progressive and too provocative’: rejecting a
Joseph Beuys, Free International University seminar, 1977
244