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

notes to pages 154– 9
Alekseev, Georgii Kizevalter, Andrei Monastyrsky and Nikolai Panitkov,
later joined by Igor Makarevich, Elena Elagina and Sergei
Romashko. The group continue to produce around eight performances a
year, although the character of this work has changed considerably since
1989: the actions are more complex, with more references to Eastern
mysticism, and frequently make use of documentation (especially tape
recordings) from earlier actions.
77 Regarding the literary aspects of Moscow Conceptualism, Kabakov has
noted the central role of the Russian literary tradition of the nineteenth
century: ‘Literature took upon itself all moral, philosophical, pedagogical,
and enlightening functions, concentrating them all in itself and not
simultaneously in the plastic arts, which did happen in the West.’ (Kabakov,
‘On the Subject of the Local Language’, in Kabakov, Das Leben Der
Fliegen, p. 237.)
78 It should be noted that CAG also designed actions for individuals or
pairs; for example For N Panitkov (Three Darknesses), 1980; For G Kizevalter
(Slogan- 1980), 1980; The Encounter, 1981; For N Alekseev, 1981. It
was rarer for actions to take place in private apartments (Playback, 1981)
or in the city streets (Exit, 1983; The Group, 1983).
79 Monastyrsky refers to this as a psychological state of ‘pre- expectation’,
created through the form of the invitation, and through the spatio- temporal
peculiarities of the journey to the site of the event. See Monastyrsky,
‘Preface to the First Volume of Trips to the Countryside’, in Boris Groys
(ed.), Total Enlightenment: Conceptual Art in Moscow 1960– 1990, Frankfurt:
Schirn Kunsthalle/ Hatje Cantz, 2008, p. 335.
80 ‘And yet, if the experience so far was that of pure expectation, this experience
now transforms upon the appearance of the object of perception on
the real fi eld. It is interrupted, and there begins a process of strenuous
looking, accompanied by the desire to understand what this object means.
In our view, this new stage of perception constitutes a pause. While it is a
necessary stage in the process of perception, it is by no means the event
for the sake of which all of this was arranged.’ (Ibid., p. 336.)
81 Ibid., p. 333.
82 Andrei Monastyrsky, ‘Seven Photographs’, translated by Yelena Kalinsky,
available at http:/ / conceptualism.letov.ru.
83 Ibid.
84 Ibid.
85 Ilya Kabakov, ‘Ten Appearances’, in Kollektivnye deistviya, Poezdki za
gorod, Moskva: Ad marginem, 1998, pp. 151– 2, translated by Anya Pantuyeva.
86 Andrey Monastyrsky, ‘Ten Appearances’ (1981), reprinted in Bishop
(ed.), Participation, p. 129.
87 This is corroborated by Kabakov’s account: ‘I had some space of freedom
and I had to make up my mind what to do then. But actually, I had
no doubt or speculation about what to do – to leave, etc. – not at all.
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