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

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artificial hells sensoriality from other forms of sensible experience. This friction ideally produces the formation of elements ‘capable of speaking twice: from their readability and from their unreadability’. 57 Secondly, I have adopted Rancière’s idea of art as an autonomous realm of experience in which there is no privileged medium. The meaning of artistic forms shifts in relation to the uses also made of these forms by society at large, and as such they have no intrinsic or fi xed political affi liation. The history traced in this book aims to reinforce this point by situating participation as a constantly moving target. Audience participation techniques pioneered in the 1960s by the Happenings, and by companies like The Living Theatre and Théâtre du Soleil, have become commonplace conventions in the theatrical mainstream. 58 Today we see a further devaluation of participation in the form of reality television, where ordinary people can participate both as would- be celebrities and as the voters who decide their fate. Today, participation also includes social networking sites and any number of communication technologies relying on user- generated content. Any discussion of participation in contemporary art needs to take on board these broader cultural connotations, and their implementation by cultural policy, in order to ascertain its meaning. IV. Directed Reality: The Battle of Orgreave Despite Rancière’s argument that the politics of aesthetics is a metapolitics (rather than a party politics), his theory tends to sidestep the question of how we might more specifi cally address the ideological affi liations of any given work. This problem comes to the fore when we look at a work that has arguably become the epitome of participatory art: The Battle of Orgreave (2001) by the British artist Jeremy Deller. Since the mid 1990s, Deller’s work has frequently forged unexpected encounters between diverse constituencies, and displays a strong interest in class, subculture and selforganisation – interests that have taken the form both of performances (Acid Brass, 1996) and temporary exhibitions (Unconvention, 1999; Folk Archive, 2000–; From One Revolution to Another, 2008). The Battle of Orgreave is perhaps his best- known work, a performance re- enacting a violent clash between miners and mounted policeman in 1984. Nearly 8,000 riot police clashed with around 5,000 striking miners in the Yorkshire village of Orgreave; this was one of several violent confrontations prompted by Margaret Thatcher’s assault on the mining industry and signalled a turning point in UK industrial relations, weakening the trade union movement and enabling the Conservative government to consolidate a programme of free trade. Deller’s reconstruction of this event brought former miners and local residents together with a number of historical re- enactment societies who rehearsed and then restaged the confl ict for the public, on the site of the original hostilities in Orgreave. At 30
Jeremy Deller, The Battle of Orgreave, 2001
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 28 and 29: Rachel Whiteread, House, 1993 Lorai
Page 30 and 31: artificial hells historical avant-
Page 32 and 33: artificial hells the drawbacks of t
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
Page 78 and 79: artificial hells demanding an activ
Page 80 and 81: Atelier Populaire, Je participe, tu
Page 82 and 83: artificial hells Khatib’s ‘Atte
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artificial hells studies (many of w
Page 86 and 87:
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
Page 128 and 129:
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,
Page 150 and 151:
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 ‘
Page 182 and 183:
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
Page 197 and 198:
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
Page 203 and 204:
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
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
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
Page 317 and 318:
notes to pages 106- 9 Columba, 1967
Page 319 and 320:
notes to pages 111- 2 designed to t
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notes to pages 117- 9 ‘Un mongolo
Page 323 and 324:
notes to pages 124- 6 taken, most o
Page 325 and 326:
notes to pages 131- 2 at having to
Page 327 and 328:
notes to pages 135- 8 employed to d
Page 329 and 330:
notes to pages 141- 2 general of th
Page 331 and 332:
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
Page 337 and 338:
notes to pages 165- 7 Lawson, Julie
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notes to pages 170- 1 28 Ibid., p.
Page 341 and 342:
notes to pages 173- 5 48 See Brisle
Page 343 and 344:
notes to pages 179- 81 which saw cr
Page 345 and 346:
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
Page 386:
On the Typeface Artifi cial Hells i
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