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

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illustration credits Chapter 10 p. 278 Antony Gormley and participants in One and Other, Trafalgar Square, London, 2009. Photo: Peter Macdiarmid. p. 281 (top) Christoph Schlingensief, Please Love Austria, Vienna, 2000. View of the container. Photo: David Baltzer. Courtesy the Estate of Christoph Schlingensief. p. 281 (bottom) Christoph Schlingensief, Please Love Austria, montage, undated. Courtesy the Estate of Christoph Schlingensief. 371
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ARTIFICIAL HELLS Participatory Art
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Contents Introduction 1 1 The Socia
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Introduction All artists are alike.
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introduction framed within a tradit
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introduction education). Both of th
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introduction and troubling forms of
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introduction participatory art desp
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artificial hells extras of the spec
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artificial hells denotes self- real
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artificial hells but because the po
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artificial hells triple enemy of fo
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artificial hells Oda Projesi, FAIL#
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artificial hells Thomas Hirschhorn,
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Rachel Whiteread, House, 1993 Lorai
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artificial hells historical avant-
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artificial hells the drawbacks of t
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artificial hells sensoriality from
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artificial hells the same time, Del
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artificial hells politically self-
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artificial hells societies. 76 Beca
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artificial hells passive always end
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artificial hells ‘good soul’; i
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artificial hells I. Provocation, Pr
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artificial hells From the beginning
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artificial hells perhaps regard the
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artificial hells On the other hand,
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artificial hells productions, and t
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artificial hells real work, applyin
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artificial hells Kerzhentsev advoca
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artificial hells It is unsurprising
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artificial hells fi gure is Kerzhen
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artificial hells Re-enactment of th
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artificial hells It goes without sa
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Hooter Symphony, c.1920 Conductor o
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artificial hells experiments of thi
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Excursions and Visits, fl yer for t
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artificial hells started to scatter
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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:
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notes to pages 11- 13 University of
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notes to pages 18- 23 28 I say schi
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notes to pages 29- 33 56 ‘Suitabl
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notes to pages 37- 43 79 ‘This ki
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notes to pages 46- 9 14 Michael Kir
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notes to pages 54- 8 Mystery- Bouff
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notes to pages 63- 9 82 Kerzhentsev
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notes to pages 74- 78 the Great War
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notes to pages 80- 3 ‘40˚ au- de
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notes to pages 86- 9 its emphasis o
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notes to pages 94- 8 theatre. In th
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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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Page 339 and 340: notes to pages 170- 1 28 Ibid., p.
Page 341 and 342: notes to pages 173- 5 48 See Brisle
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Page 347 and 348: notes to pages 194- 8 4 In his intr
Page 349 and 350: notes to pages 202- 6 their work, i
Page 351 and 352: notes to pages 209- 14 48 Rirkrit T
Page 353 and 354: notes to pages 217- 23 Gonzalez- Fo
Page 355 and 356: notes to pages 226- 9 using the fi
Page 357 and 358: notes to pages 234- 8 34 In other w
Page 359 and 360: notes to pages 242- 3 e- fl ux jour
Page 361 and 362: notes to pages 251- 7 de Aizpuru in
Page 363 and 364: notes to pages 266- 8 49 Jacques Ra
Page 365 and 366: notes to pages 273- 6 70 ‘Patentl
Page 367 and 368: notes to pages 283- 4 newspaper, in
Page 369 and 370: illustration credits Chapter 3 p. 7
Page 371 and 372: illustration credits p. 184 (top) T
Page 373: illustration credits p. 235 Pierre
Page 377 and 378: Baudrillard, Jean, 200, 236 Beck, U
Page 379 and 380: Eriksson, Annika, 1, 221 Escari, Ra
Page 381 and 382: Labyrinth (artwork), 88 Lacan, Jacq
Page 383 and 384: Primera obra de arte de los medios
Page 385 and 386: Vingt-cinq ans d’art vivant (artw
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