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

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Abramovic, Marina, 219, 230 A.C.A.D.E.M.Y, 269 Acid Brass (artwork) 1996, 30 1997, 221 Action for My Mind (artwork), 137 Adamčiak, Milan, 143 Adeane, Robert, 164 Adorno, Theodor, 252 Against Interpretation (book), 111 Albertová, Eva, 144 Albums (books), 154 Alekseev, Nikita, 153–5 Althamer, Paweł, 33, 126, 220, 246, 255, 256, 258, 266 Althusser, Louis, 266 Álvarez (publishing house), 107 Åman, Jan, 210, 212 The Amazing Story of Talacre (fi lm), 180 Ambiance Theatre Club, 180 Andĕl, Jaroslav, 149 Anti-Procès festivals, 94 Apartment Inhabited by the Artist Prior to the Opening (artwork), 198 Appearance (artwork), 155 Aragon, Louis, 66, 72, 73 Arena Conta Zumbi (musical), 122 Arman, 141, 143 Art, Action, Participation (book), 79 Art and Culture (artwork), 164 Artangel, 37 Index 373 Artaud, Antonin, 78 Arte de Conducta (artwork), 246–7, 247, 248, 249, 250, 265 Arte util (artwork), 249 Artist Placement Group, 4, 169 Arts Council of Great Britain, 175, 177 Arts Council’s Experimental Projects Committee, 178 Art Since 1900 (book), 3 Assez des Mystifi cations (manifesto), 89 Association of Community Artists, 190 Atelier Populaire (artwork), 79 Atelier pour enfants (workshop), 260 Attempted Acquaintance (book), 150–1 Aupetitallot, Yves, 195, 197, 198, 202 Autobodys (artwork), 108 Avraamov, Arsenii, 65 Bacon, Francis, 287n1 Badiou, Alain, 25 Bal-Blanc, Pierre, 232, 233, 234, 235 Bankowsky, Jack, 229 Barrès, Maurice, 72 Barrès Trial (artwork), 66, 72, 73 Barthes, Roland, 79, 107, 272 La Basi (artwork), 48 Un Batacazo (artwork), 108 Bataille Monument (fi lm), 21, 22 Bateson, Gregory, 107 The Battle of Orgreave (artwork), 30–5
Baudrillard, Jean, 200, 236 Beck, Ulrich, 14 The Beggar’s Opera (musical), 126, 224–5 Benjamin, Walter, 11, 18, 49, 199 Berghaus, Günther, 94 Bergman, Ingmar, 152 Berman, Ed, 180, 182 Bernstein, Michèle, 84 Betrothal of Spring (book), 148 Beuys, Joseph, 15–16, 176, 243, 244, 269 Biennale, Venice, 78 Biennial, Gwangju, 248 The Bijlmer-Spinoza Festival, 260, 263–5 The Blockade of Russia (fi lm), 58 Blue Blouse troupes, 57 Boal, Augusto, 105, 122, 183, 224–5 Boccioni, Umberto, 42, 43 Boetti, Alighiero e, 200 Bogdanov, Aleksandr, 50, 51 Bogoslavskaya, 57 Bologna Process (1999), 268 Bolshevik Revolution, 3–4 Boltanski, Christian, 215, 236, 276 Boltanski, Luc, 360n3 Le Bon, Gustave, 44 Bony, Oscar, 108, 114 Bourdieu, Pierre, 38 Bourriaud, Nicolas, 2, 11, 28, 207, 208 Breakwell, Ian, 165, 172 Breton, André, 4, 6, 7, 41, 66, 73, 99 Brett, Guy, 170 Brezhnev, Leonid, 130 The Bricklayer (fi lm), 55 Bringing the War Home (artwork), 29 Brisley, Stuart, 165, 167, 168, 173, 175 Bruegel, Pieter, 146 Bruguera, Tania, 12, 223, 233, 246, 247, 248, 249, 250, 252, 272 Buchloh, Benjamin H. D., 3, 170 Buck-Morss, Susan, 60 index 374 Budaj, Ján, 151, 153 Bureau for Direct Democracy (artwork), 243 Bureau of Surrealist Research (artwork), 72 Cabaret Voltaire, 66 Cage, John, 94, 166, 179 Camera Lucida (artwork), 1 Cameron, David, 14 Caminhando (artwork), 234–5 Camnitzer, Luis, 242, 243 Caricature of a Futurist Serata, 42–3 Carnevale, Graciela, 119, 149 Caro, Anthony, 168–9 Carrà, Carlo, 42, 43 Carter, Huntly, 54, 62 Cátedra de Arte de Conducta (artwork), 246, 248 Cattelan, Maurizio, 207, 220–1 Cavern of Anti-Matter (exhibition), 82 Ceauşescu, Nicolae, 129–30 Centre for Art Analysis (collection), 269 The Centre for Possible Studies (book), 242 Centro Espacial Vik Muniz, Rio de Janeiro, 1 Certeau, Michel de, 11 Cézanne, Paul, 67 Chalupecký, Jindřich, 131, 132 Chan, Paul, 246, 250–4, 272 Chaosmosis (book), 272 Chaplin, Charlie, 69 Chiapello, Eve, 215, 236, 276 Chicago Urban Ecology Action Group, 203, 204 Christo, 143 Chtcheglov, Ivan, 85 Clark, Katerina, 55 Clark, Lygia, 234–5, 243 Clark, T. J., 82 The Classical Theatre of Harlem, 252
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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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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
Page 333 and 334: notes to pages 150- 4 almost no int
Page 335 and 336: notes to pages 159- 60 What I wante
Page 337 and 338: notes to pages 165- 7 Lawson, Julie
Page 339 and 340: 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
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 and 374: illustration credits p. 235 Pierre
Page 378 and 379: Classic Escape (book), 149 Clegg &
Page 380 and 381: Hackney Writers Workshop, 173 Hagoo
Page 382 and 383: Moreau, Gustave, 95 Müller, Christ
Page 384 and 385: ‘Sonsbeek 93,’ (exhibition) 198
Page 386: On the Typeface Artifi cial Hells i
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