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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pedagogic projects<br />
kids <strong>and</strong> <strong>the</strong> science teacher – <strong>and</strong> this social relationship operated as a belated<br />
corrective to his own experience <strong>of</strong> feeling disengaged at school. Einstein Class,<br />
like many <strong>of</strong> Althamer’s works, is typical <strong>of</strong> his identifi cation with marginal<br />
subjects, <strong>and</strong> his use <strong>of</strong> <strong>the</strong>m to realise a situation through which he can retroactively<br />
rehabilitate his own past.<br />
In exhibition, Althamer has attempted to deal with <strong>the</strong> problem <strong>of</strong> documentation<br />
performatively: when <strong>the</strong> Einstein exhibition opened in Berlin,<br />
<strong>the</strong> teacher <strong>and</strong> kids all travelled to Germany for <strong>the</strong> opening as a continuation<br />
<strong>of</strong> <strong>the</strong>ir education. 35 When <strong>the</strong> fi lm was screened in London in 2006,<br />
Althamer insisted that <strong>the</strong> Polish boys be invited to <strong>the</strong> opening, <strong>and</strong> <strong>the</strong>ir<br />
local equivalents hired to supply a dubbed translation for <strong>the</strong> fi lm. As in<br />
many <strong>of</strong> Althamer’s projects, altruism is inseparable from institutional<br />
inconvenience <strong>and</strong> upheaval (which <strong>the</strong> London exhibition made explicit in<br />
its title, ‘What Have I Done to Deserve This?’). 36 Althamer’s subsequent<br />
projects with students, such as Au Centre Pompidou (2006), attempted to<br />
visualise an educational process through a collectively produced puppet<br />
show. And yet, for both this project <strong>and</strong> Einstein Class, one feels as if <strong>the</strong><br />
visual outcome was forced, produced as a result <strong>of</strong> institutional pressure<br />
for visibility. At <strong>the</strong>ir best, <strong>the</strong> eccentricity <strong>of</strong> Althamer’s ideas are self-<br />
suffi cient <strong>and</strong> need no visual documentation.<br />
Althamer’s own academic formation is worth attending to, since it<br />
underlies many <strong>of</strong> his more vivid projects. Althamer was part <strong>of</strong> <strong>the</strong> so-<br />
called Kowalski Studio at <strong>the</strong> Warsaw Academy <strong>of</strong> Fine <strong>Art</strong>s, along with<br />
many <strong>of</strong> today’s leading generation <strong>of</strong> Polish artists, including <strong>Art</strong>ur<br />
Żmijewski <strong>and</strong> Katarzyna Kozyra. Pr<strong>of</strong>essor Grzegorz Kowalski rejected<br />
<strong>the</strong> traditional model <strong>of</strong> ‘master’ to ‘apprentice’ in favour <strong>of</strong> ‘visual games’<br />
– open- ended tasks that also functioned as a form <strong>of</strong> collective analysis,<br />
both critical <strong>and</strong> <strong>the</strong>rapeutic. Under <strong>the</strong> working title ‘Common Space –<br />
Private Space’, Kowalski foregrounded <strong>the</strong> work <strong>of</strong> art as an effect <strong>of</strong><br />
complex non- verbal communication performed by artists in interaction<br />
with each o<strong>the</strong>r, neutralising individualism. 37 Kowalski derived this technique<br />
from <strong>the</strong> architectural <strong>the</strong>ory <strong>of</strong> his teacher, Oskar Hansen, who in<br />
1959 had proposed ‘open form’, in which a structure can be added to,<br />
encouraging participation <strong>and</strong> a more vital relationship with reality, in<br />
contrast to ‘closed form’, to which it is impossible to incorporate additions.<br />
38 One <strong>of</strong> <strong>the</strong> basic tenets <strong>of</strong> open form is that ‘no artistic expression is<br />
complete until it has been appropriated by its users or beholders’, whereas<br />
closed form reduces subjectivity to a passive element within a larger hierarchical<br />
structure. 39 As <strong>the</strong> curator Łukasz Ronduda has argued, when<br />
Hansen’s idea <strong>of</strong> open form is translated into art, it brings about a ‘death <strong>of</strong><br />
<strong>the</strong> author’, opening <strong>the</strong> way towards ‘experimentation <strong>and</strong> highly complex<br />
(trans- individual) collective projects’. 40 Kowalski adopted Hansen’s ideas<br />
as a pedagogic principle, but differs from his teacher’s austere rationalism<br />
in encouraging a more subjective, poetic <strong>and</strong> quasi- Surrealist approach.<br />
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