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

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Paweł Althamer and Artur Żmijewski, [S]election.pl, 2005. The Nowolipie Group at work in the gallery. Paweł Althamer and Artur Żmijewski, [S]election.pl, 2005
pedagogic projects In 2005, Żmijewski and Althamer revisited Kowalski’s pedagogic method in a project called Wybory.pl ([S]election.pl). When CCA Ujazdowski Castle offered the two artists solo shows, they decided to collaborate on a process- based exhibition with their former colleagues from the Kowalski Studio. Constantly mutating and entirely chaotic, the exhibition was spread through several galleries of the CCA but defi antly broke both educational and exhibition conventions by subjecting individual contributions to one rule: anyone could adapt or amend or improve or destroy anyone else’s work. Unlike ‘Interpol’ and the other performative exhibitions discussed in Chapter 7, [S]election.pl was open to the public during this process, who could observe the changes taking place as they happened. Żmijewski produced a fi fty- minute video of the experience, showing its various phases over several weeks: from the artists making works, and gradually altering each other’s pieces, to Althamer introducing other people into the process, such as children, the Nowolipie Group, and (most controversially) some prostitutes. A revealing sequence occurs when Althamer takes his daughter Veronika around the museum in a shopping trolley, encouraging her to interact with the objects, until he is brought to a cursory halt by a gallery invigilator. In this juxtaposition of the girl’s tactile curiosity and museum prohibition, the viewer sees yet another indictment of the museum as mausoleum, but this time staged as a confrontation between a child’s enthusiasm and the deadening interdictions of the institution. Żmijewski’s careful editing of this incident allows the relationship of artist/ teacher and viewer/ student to come into particularly sharp focus. Throughout the video we see two divergent impulses at work. On the one hand, Althamer’s urge to bring diverse constituencies into the museum and his Beuysian request that they see themselves as contemporary artists. 41 On the other hand, Żmijewski’s interest in antagonism and destruction, continually setting fi re to other people’s politely crafted objects as if to assert that artistic creation can only occur ex nihilo, by erasing such conventional forms. It is as if Althamer and Żmijewski want to honour their former teacher by rewriting his pedagogic methods more trenchantly, encouraging their colleagues and the museum’s employees to refl ect more acutely on the meaning of art and why it comes to be exhibited. As an exhibition, [S]election.pl was critically panned as incomprehensible, and even Kowalski sought to distance himself from what was being done in his honour. 42 Like Einstein Class, [S]election.pl suggests that experimental art- as- pedagogy doesn’t necessarily lead to a cohesive and completed work of art or exhibition at the time of its making. Moreover, it is telling that the best documentation of [S]election.pl is time- based, like Chan’s lectures, or Bruguera’s Estado de Excepción. Through Żmijewski’s video, we understand that while the show can be seen in the tradition of institutional critique (qua an analysis of institutional functions and conventions), it is also a series of vignettes documenting an education – for the children who painted 259
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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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former west brought back from their
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former west artists and collectives
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former west As Dion indicates, this
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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 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: pedagogic projects kids and the sci
Page 265 and 266: pedagogic projects the history of B
Page 267 and 268: pedagogic projects play, only note
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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
Page 307 and 308: notes to pages 74- 78 the Great War
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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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