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

notes to pages 244– 9
13 The fi rst workshop at Documenta 6, for example, concerned the future of
small countries and their attempts to fi nd alternatives to the hegemony of
power in economically dominant countries. Caroline Tisdall notes that of
the artists taking part elsewhere in Documenta, only three participated in
Beuys’s FIU programming: Nam June Paik, John Latham and Arnulf
Rainer. See Tisdall, Joseph Beuys, New York: Solomon Guggenheim
Museum, 1979, p. 260.
14 See for example the revival of the FIU’s format as a series of interdisciplinary
lectures organised by Catherine David in Documenta 10 (100
Days– 100 Guests), and by Okwui Enwezor in the form of four conference
‘platforms’ preceding Documenta 11, 2002.
15 Jan Verwoert, ‘Class Action’, Frieze, September 2006, pp. 150– 5.
16 Jan Verwoert, ‘The Boss: On the Unresolved Question of Authority in
Joseph Beuys’ Oeuvre and Public Image’, e- fl ux journal, 1, December
2008, available at www.e- fl ux.com.
17 The nearest thing to dialogue as art was the tightly structured, dematerialised
but certifi cated ‘discussions’ of Ian Wilson from 1976 onwards, and
to a lesser extent, Tom Marioni’s free beer salons (1970–).
18 Beuys, interviewed by Willoughby Sharp, in Lippard, Six Years, pp.
121– 2.
19 The Research Assessment Exercise (RAE) and Quality Assurance Audit
(QAA) are the two central, and most burdensome, systems of evaluation
for UK universities.
20 As Bruguera notes, ‘Some artists in Cuba began to imagine what was
wanted from them, from their art. Pleasing the foreigners involved
another kind of process of social engagement as well as another kind of
censorship.’ (Tania Bruguera, interview with Tom Finkelpearl, in Finkelpearl
(ed.), Art as Social Cooperation, forthcoming.)
21 Cuba’s dual economy means that Bruguera could exploit the gap between
moneda nacional, Cuban Convertibles (CUC) and US dollars. An offi cial
teaching job (at University of Chicago) therefore subsidised the experimental
teaching as art (in Havana).
22 I was of course staggered. Delahante had miscarried, but there had been
extensive discussion at the school as to whether or not the insemination
had actually taken place. The documentation of this work exists as hospital
records, inaccessible even to the artist.
23 The Kuitca programme is an independent studio programme set up by
the Argentinian painter Guillermo Kuitca in 1991, to compensate for the
lack of MFA courses in Buenos Aires.
24 Bruguera, interview with Tom Finkelpearl.
25 For a review of this see Claire Bishop, ‘Speech Disorder’, Artforum,
Summer 2009, pp. 121– 2; plus the letter by Coco Fusco and my reply,
Artforum, October 2009, pp. 38 and 40. Other works in the Tatlin’s Whisper
series include a molotov cocktail making workshop at a Galería Juana
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