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

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Rachel Whiteread, House, 1993 Loraine Leeson, West Meets East, 1992
the social turn demands upon the viewer. However, his tone clearly contains a judgement: House emerged from a studio practice that has little to do with the specifi c conditions of Bow, while Leeson and her partner Peter Dunn (working under the name The Art of Change) ‘attempt to learn as much as possible about the cultural and political histories of the people with whom they work, as well as their particular needs and skills. Their artistic identity is based in part upon their capacity to listen, openly and actively.’ 43 In this type of project, empathetic identifi cation is highly valued, since only this can facilitate ‘a reciprocal exchange that allows us to think outside our own lived experience and establish a more compassionate relationship with others’. 44 Here I should be clear: my aim is not to denigrate Leeson’s work, but to point out Kester’s aversion to dealing with the forms of both works and the affective responses they elicit as equally crucial to the work’s meaning – be this the jarring conjunction of traditional decorative patterns and garish colour photography in the montage aesthetic of West Meets East, or the bleak, haunted, cancerous white husk of Whiteread’s House. Kester’s emphasis on compassionate identifi cation with the other is typical of the discourse around participatory art, in which an ethics of interpersonal interaction comes to prevail over a politics of social justice. It represents a familiar summary of the intellectual trends inaugurated by identity politics and consolidated in 1990s theory: respect for the other, recognition of difference, protection of fundamental liberties, and a concern for human rights. The philosopher Peter Dews has described this development as an ‘ethical turn’, in which ‘Questions of conscience and obligation, of recognition and respect, of justice and law, which not so long ago would have been dismissed as the residue of an outdated humanism, have returned to occupy, if not centre stage, then something pretty close to it.’ 45 At the centre of opposition to this trend have been the philosophers Alain Badiou, Jacques Rancière and Slavoj Žižek who, in different ways, remain sceptical of the jargon of human rights and identitarian politics. 46 It might seem extreme to bring these philosophical indictments of the ethical turn to bear upon the well- meaning advocates of socially collaborative art, but these thinkers provide a poignant lens through which to view the humanism that pervades this art critical discourse. In insisting upon consensual dialogue, sensitivity to difference risks becoming a new kind of repressive norm – one in which artistic strategies of disruption, intervention or over- identifi cation are immediately ruled out as ‘unethical’ because all forms of authorship are equated with authority and indicted as totalising. Such a denigration of authorship allows simplistic oppositions to remain in place: active versus passive viewer, egotistical versus collaborative artist, privileged versus needy community, aesthetic complexity versus simple expression, cold autonomy versus convivial community. 47 A resistance to rupturing these categories is found in Kester’s rejection of any art that might offend or trouble its audience – most notably the 25
Page 1 and 2: ARTIFICIAL HELLS Participatory Art
Page 3 and 4: Contents Introduction 1 1 The Socia
Page 5 and 6: Introduction All artists are alike.
Page 7 and 8: introduction framed within a tradit
Page 9 and 10: introduction education). Both of th
Page 11 and 12: introduction and troubling forms of
Page 13: introduction participatory art desp
Page 16 and 17: artificial hells extras of the spec
Page 18 and 19: artificial hells denotes self- real
Page 20 and 21: artificial hells but because the po
Page 22 and 23: artificial hells triple enemy of fo
Page 24 and 25: artificial hells Oda Projesi, FAIL#
Page 26 and 27: artificial hells Thomas Hirschhorn,
Page 30 and 31: artificial hells historical avant-
Page 32 and 33: artificial hells the drawbacks of t
Page 34 and 35: artificial hells sensoriality from
Page 36 and 37: artificial hells the same time, Del
Page 38 and 39: artificial hells politically self-
Page 40 and 41: artificial hells societies. 76 Beca
Page 42 and 43: artificial hells passive always end
Page 44 and 45: artificial hells ‘good soul’; i
Page 46 and 47: artificial hells I. Provocation, Pr
Page 48 and 49: artificial hells From the beginning
Page 50 and 51: artificial hells perhaps regard the
Page 52 and 53: artificial hells On the other hand,
Page 54 and 55: artificial hells productions, and t
Page 56 and 57: artificial hells real work, applyin
Page 58 and 59: artificial hells Kerzhentsev advoca
Page 60 and 61: artificial hells It is unsurprising
Page 62 and 63: artificial hells fi gure is Kerzhen
Page 64 and 65: artificial hells Re-enactment of th
Page 66 and 67: artificial hells It goes without sa
Page 68 and 69: Hooter Symphony, c.1920 Conductor o
Page 70 and 71: artificial hells experiments of thi
Page 72 and 73: Excursions and Visits, fl yer for t
Page 74 and 75: artificial hells started to scatter
Page 76 and 77: 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
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former west The artists were asked
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Carl Michael von Hausswolff, Andrew
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former west artists at this time. T
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former west however, result in a fo
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artificial hells specialist art wor
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artificial hells performing music)
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artificial hells specifi c abilitie
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artificial hells Martin Creed’s W
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artificial hells Artur Żmijewski,
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artificial hells Marina Abramovic,
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artificial hells provide not just t
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artificial hells ends. 34 As such,
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artificial hells economic instituti
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artificial hells essential in this
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9 Pedagogic Projects: ‘How do you
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pedagogic projects southern hemisph
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pedagogic projects curriculum, offe
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pedagogic projects however, was not
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pedagogic projects re- installed ev
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pedagogic projects uncanny sense of
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Paul Chan, Waiting for Godot in New
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pedagogic projects Chan identifi es
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pedagogic projects kids and the sci
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pedagogic projects In 2005, Żmijew
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pedagogic projects the history of B
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pedagogic projects play, only note
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pedagogic projects into which the p
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pedagogic projects framework applie
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pedagogic projects rather than a cr
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pedagogic projects and Lia Perjovsc
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pedagogic projects to morality. Nea
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Conclusion The dominant narrative t
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conclusion emergence of the contemp
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conclusion I. The Ladder and the Co
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Christoph Schlingensief, Please Lov
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conclusion of art to a question of
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Acknowledgements This book took a l
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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
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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
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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
Page 309 and 310:
notes to pages 80- 3 ‘40˚ au- de
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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