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

notes to pages 131– 2
at having to work in a brewery in the mid 1970s (Havel, Open Letters,
London: Faber and Faber, 1991, pp. 173– 4). The artist Vladimír Boudník
(1924– 68) worked in a print factory and declared, a good decade before
Joseph Beuys did, that everyone was artist. He viewed his art as having
an educative mission: he produced work in the streets (late 1940s– 50s),
fi nding images in peeling paint and stains on walls, occasionally adding to
them, and framing them (for example with paper), before encouraging
passers- by to converse with him about their meaning. In 1960 he stated
that he had realised c.120 artistic actions between 1949– 53, at which often
over a hundred people were present – although there are no independent
accounts to corroborate this claim. See Vladimír Boudník, Prague:
Gallery, 2004. Milan Knížák was aware of Boudník’s work, and some of
his early actions make reference to everyday workers (see Milan Knížák,
Actions For Which at Least Some Documentation Remains, 1962– 1995,
Prague: Gallery, 2000, p. 73).
5 The socialist calendar in Slovakia, for example, included organised mass
parades for Victorious February (25 February), International Women’s
Day (8 March), International Workers’ Day (1 May), Liberation Day (9
May) and International Children’s Day (1 June), as well as Nationalisation
(28 October) and the Great October Socialist Revolution (7
November).
6 Jindřich Chalupecký, ‘The Intellectual Under Socialism’, in Tomáš
Pospiszyl and Laura Hoptman (eds.), Primary Documents: A Sourcebook
for Eastern and Central European Art Since the 1950s, New York: MoMA,
2002, p. 31. Tomáš Pospiszyl has been an invaluable interlocutor in the
preparation of this chapter and I am indebted to his generosity.
7 Ibid., p. 33.
8 Pierre Restany describes the 1965– 66 season in Paris as dominated by the
Czech presence, particularly at the 4th Paris Biennial and in group exhibitions
at Galerie Lambert and the gallery Peintres du Monde. Jiří Kolář
showed at Galerie Riquelme, while the climax was a large exhibition of
Czech Cubism at the Musée national d’art moderne. See Pierre Restany,
Ailleurs: Alex Mlynárčik, Paris: Galerie Lara Vincy and Bratislava:
Galerie Nationale Slovaque, 1994, pp. 23– 4. In return, Restany organised
shows of Yves Klein and Martial Raysse at the National Gallery of Prague
in 1968 and 1970 respectively.
9 Václav Havel’s description of being under house arrest in 1979 gives a
depressingly clear picture of what this dogged police presence involved.
See Havel, ‘Reports on My House Arrest’, Open Letters, pp. 215– 29.
10 Czech audiences in general were underwhelmed by Fluxus, which was
introduced in a tour by Eric Andersen, Addi Kopcke and Tomas Schmit
in April 1966. ‘It strikes us as absurd to present happenings in Czechoslovakia
in which some kind of disorder is artifi cially created, something
stops working or a mess is made. It seems ridiculous to us, for whom this
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