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

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artificial hells fund came out of his conversations with residents, who were sick of being a backdrop to catastrophe tourism. They didn’t want art, but concrete help. Chan moved to the city in August 2007 and began teaching for free at New Orleans University (which needed a contemporary art history class, since their teacher had perished in Katrina) and at Xavier University (which needed studio classes on how to do a resumé and portfolios). This teaching helped him to build up a base of volunteers and to spread news of the project by word of mouth. At the same time, he sought to establish relationships with key activists and organisers through potluck dinners (Chan refers to this as ‘the political work of disarming’). The Classical Theatre of Harlem, meanwhile, also relocated to New Orleans, and began rehearsing in an abandoned Catholic school, where they held workshops for community theatre groups if requested. It is signifi cant that Chan’s educational work was not an interrogation into the uses of education in and of itself, but the means to an end: using the skills he had in order to integrate himself into the city, build up alliances, and realise his vision. Competencies were maximised: unlike Bruguera outsourcing teaching to others, Chan used his own expertise. His weekly art history seminars were themed around artists he admired (plus ‘Theodor Adorno on the occasion of his birthday’), while the studio classes – ‘Directed Reading, or Art Practicum’ – offered a guide to the art world: how to write artists’ statements, get funding, compose press releases, and so on. 31 The play’s production and theatre workshops, meanwhile, were handed over to the Classical Theatre of Harlem, for whom residencies and workshops are already a regular part of their practice. In other words, skills were carefully parcelled out to maximise effi cacy. The strength of this approach could be said to reside in precisely such a clear division between the domains of education, art and performance: Chan reminds us that his organisational techniques are learnt from activism, and describes the project as a ‘campaign’. On the other hand, this division between organisation, fundraising and fi nal production maintains a clear separation between the managerial and creative aspects of the project in a way that could be seen as artistically conservative; Bruguera, for instance, would insist on viewing all parts of such a process as art. It is telling that on Chan’s website we can fi nd the syllabi for his courses, but no images of the classes. Likewise, no offi cial footage of the performance exists, only a bootleg video. The visual images that do circulate around the project always revolve around the carefully wrought production: Chan’s initial drawing (available as a free download), production stills, and photographs of the signage advertising Godot – unforgettable shots of a desolate New Orleans landscape punctuated by a white sign with black text, bearing Beckett’s opening stage directions: ‘A country road. A tree. Evening.’ Chan has recently sold the Godot archive to MoMA, where it has been displayed as three walls of papers pasted onto blown- up photographs of the 252
Paul Chan, Waiting for Godot in New Orleans, 2007. The artist teaching at Lusher High School. Paul Chan, Waiting for Godot in New Orleans, 2007. Robert Green and production signage.
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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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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
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artificial hells In other words, co
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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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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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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: pedagogic projects uncanny sense of
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
Page 267 and 268: pedagogic projects play, only note
Page 269 and 270: pedagogic projects into which the p
Page 271 and 272: pedagogic projects framework applie
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Page 275 and 276: pedagogic projects and Lia Perjovsc
Page 277 and 278: pedagogic projects to morality. Nea
Page 279 and 280: Conclusion The dominant narrative t
Page 281 and 282: conclusion emergence of the contemp
Page 283 and 284: conclusion I. The Ladder and the Co
Page 285 and 286: Christoph Schlingensief, Please Lov
Page 287 and 288: conclusion of art to a question of
Page 289 and 290: Acknowledgements This book took a l
Page 291 and 292: Introduction Notes 1 Jeremy Deller:
Page 293 and 294: notes to pages 11- 13 University of
Page 295 and 296: notes to pages 18- 23 28 I say schi
Page 297 and 298: 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
Page 303 and 304: notes to pages 54- 8 Mystery- Bouff
Page 305 and 306: 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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