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

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Thomas Hirschhorn, The Bijlmer-Spinoza Festival, 2009, ‘Child’s Play’ workshops Thomas Hirschhorn, The Bijlmer-Spinoza Festival, 2009, Marcus Steinweg lecturing
pedagogic projects play, only note my amused frustration at its impenetrability (to me, but also to the performers I spoke to). 45 Looking at the audience, I could not understand why such a mixed bag of people kept coming to hear these obscure lectures and watch these opaque – almost gruelling – performances. However, going through the whole experience again the following day, I realised that this random collective presence was the point. Rain was drizzling so there was less peripheral action; listening to Steinweg and watching the audience I understood the function of the lecture not to be one of information transfer, but of a shared experience in which many different sectors of society were brought together. You didn’t need to follow the content, just give yourself over to a quiet meditative space (not unlike being in an open air, non- denominational church) and use this as a time for pondering whatever came to mind. During the play, the drizzle became torrential rain. For the fi rst time during The Bijlmer- Spinoza Festival, the performance had to stop and be relocated inside, in a cramped space under the plastic sheeting. The bedraggled audience surrounded the cast, while rain thrashed onto the plastic roof, occasionally leaking torrents, and rendering the performers’ voices near inaudible. The fi nale of this insanely abstract quasi- Dadaist play was a sequence in which two of the speakers alternated the lines ‘Wat functioneert, dat produceert’ (what functions, produces) for two minutes (which felt more like ten); this now became an incantation in the face of the most unsympathetic and least functioning of environments. It was both bathetically funny and extremely poignant. Everyone was there for no reason other than the desire to see and do the same thing: to share a play initiated by an artist, whose singular energy propelled a self- selecting, entirely disparate bunch of people to show up every night and perform or watch an abstract play that nobody fully understood. The core of The Bijlmer- Spinoza Festival seemed to be this juxtaposition of social types around a series of mediating objects that were never quite what they seemed. The philosopher’s lectures were not arguments to be understood or disputed, but were performances of philosophy; they were the spoken equivalent of the piles of photocopied Steinweg essays that form a sculptural presence in other Hirschhorn installations (for example, U- Lounge, 2003). The meaning of the theatre production also lay in the fact of its dogged performance, relentlessly taking place every day, regardless of the weather or number of performers who showed up. Like the lectures, it is pointless to analyse the specifi c content of this shambling spectacle; more important is to pay attention to its ongoing existence, willed into being by the artist, who managed to motivate people into performing something strange enough to continually captivate an audience. Similarly, the newspaper must be produced each day, regardless of the availability of news, or images, or relevant stories. At no point in The 263
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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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former west II. Performative Exhibi
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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 and 262: pedagogic projects kids and the sci
Page 263 and 264: pedagogic projects In 2005, Żmijew
Page 265: pedagogic projects the history of B
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
Page 307 and 308: notes to pages 74- 78 the Great War
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Page 311 and 312: notes to pages 86- 9 its emphasis o
Page 313 and 314: notes to pages 94- 8 theatre. In th
Page 315 and 316: 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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