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

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‘Sonsbeek 93,’ (exhibition) 198, 200–1, 205–6, 217 Sontag, Susan, 99, 107, 111 Southern Skirmish Association, 33 Southern Suppliers FC (artwork), 220 Spinoza, Benedict de, 260, 266 Standing Pieces (artwork), 235 State Committee for Security (KGB), 153 Stein, Joël, 93 Steiner, Barbara, 209 Steinweg, Marcus, 260–1 Steveni, Barbara, 163–4, 166, 169 Stevens, Graham, 175 Still and Chew (artwork), 164 Stimpson, Blake, 11 Stitch in Time (artwork), 185–6 Stone Ceremony (artwork), 139 Stop, Repair, Prepare (artwork), 223 The Storming of the Winter Palace (artwork), 59, 66 Studio International, 169 Suceso Plástico (artwork), 111–2 Summerhill, 267, 273 Survival Research Lab, 189 Tate Britain, 226 Tate Modern, 232–3 Tatlin’s Whisper #5 (artwork), 233 Tatlin’s Whisper #6 (artwork), 249 Il Teatro Sperimentale degli indipendenti (artwork), 48 Les Temps modernes (journal), 106 Tenantspin (TV station), 1, 16, 17 Ten Appearances (book), 159, 160 Ten of the Best (artwork), 183 Thatcher, Margaret, 30, 187 The Theatre and Its Double (artwork), 78 Théâtre de l’Oeuvre, 70 Théâtre du Soleil, 30 Theatre for Oneself (book), 60 Theatre of the Oppressed (book), 122 Them (book), 227 index 381 There’s Nothing There (artwork), 12 They Shoot Horses (artwork), 226–7 The Third International (artwork), 58 This Objective of That Object (artwork), 223–4 This Progress (artwork), 223 Timecode (fi lm), 291n60 Tiravanija, Rirkrit, 207, 209–10 Tisdall, Caroline, 170 To Exorcise the Spirit of Catastrophe (artwork), 111 The To-Hell-With-Human-Rights Show (artwork), 183 To Induce the Spirit of the Image (artwork), 110–2, 121 Total Participation (artwork), 108 Touraine, Alain, 79 Tous les chevaux du roi (artwork), 84 Toward a World Commune (artwork), 58, 62 Trips to the Countryside (artwork), 160 Trocchi, Alexander, 100–1 Troncy, Eric, 208–10 Trotsky, Leon, 49, 52, 170 Try (artwork), 220 Tucumán Arde (artwork), 105, 118, 121–2 250cm Line Tattooed on 6 Paid People, 222 Tzara, Tristan, 66 U-Lounge (artwork), 263 ‘The Uncanny’ (exhibition), 217 ‘Unconvention’ (exhibition), 30 Unitednationsplaza (artwork), 265 The University in Ruins (book), 268 Unmarked: The Politics of Performance (artwork), 37 Vaneigem, Raoul, 101 Van Gogh, Vincent, 83 Verwoert, Jan, 244–5 Vidokle, Anton, 265, 267 Village Wedding (painting), 144
Vingt-cinq ans d’art vivant (artwork), 79 Virno, Paolo, 12 Vivo-Ditos (artwork), 111, 113 Waiting for Godot in New Orleans (artwork), 250–4 A Walk Around Nový Svĕt (artwork), 138, 139 Walker, John, 177 Walther, Franz Erhard, 235 The War Game (fi lm), 229 Warsaw Academy of Fine Arts, 257 Washing (artwork), 149 Wearing, Gillian, 226 We Got It! (artwork), 205 Weiner, Lawrence, 233–235 West Meets East (artwork), 23–5 What a Way to Run a Railroad (artwork), 177–8 index 382 What Have I Done to Deserve This (exhibition), 256 What’s the Time in Vyborg? (artwork), 18–9 White Paintings (artwork), 166 Whiteread, Rachel, 23–5 Winged (fi lm), 255 The Worker’s Family (artwork), 113, 116–7, 121 Wybory.pl (artwork) 257 Zalesie Ball (artwork), 146, 147 Zamyatin, Evgeny, 55 Žilina, 144, 146 Žižek, Slavoj, 25 Zmijewski, Artur, 226–8, 247, 255, 257, 259, 272 Zucca, Pierre, 236–7
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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
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notes to pages 131- 2 at having to
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notes to pages 135- 8 employed to d
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notes to pages 141- 2 general of th
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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 376 and 377: Abramovic, Marina, 219, 230 A.C.A.D
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 386: On the Typeface Artifi cial Hells i
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