Participatory Art and the Politics of Spectatorship - autonomous ...
Participatory Art and the Politics of Spectatorship - autonomous ...
Participatory Art and the Politics of Spectatorship - autonomous ...
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
artificial hells<br />
perhaps regard <strong>the</strong>m as spectatorphilic: Futurist performances were not<br />
designed to negate <strong>the</strong> presence <strong>of</strong> <strong>the</strong> audience, but to exaggerate it, to<br />
make it visible to itself, to stir it up, halt complacency, <strong>and</strong> cultivate confi -<br />
dence ra<strong>the</strong>r than docile respect. 13 To this end, Futurist performers reversed<br />
<strong>the</strong> conventional criteria <strong>of</strong> audience engagement: <strong>the</strong>y were willing to<br />
undergo ‘<strong>the</strong> scorn <strong>of</strong> <strong>the</strong> public’, especially on <strong>the</strong> opening night, <strong>and</strong><br />
developed a ‘horror <strong>of</strong> immediate success’. 14 However, <strong>the</strong> extent to which<br />
spectators needed this retraining was debatable. With audiences (<strong>of</strong> all<br />
classes) attending in <strong>the</strong>ir thous<strong>and</strong>s, <strong>the</strong>re was clearly a pre- existing desire<br />
on <strong>the</strong> part <strong>of</strong> <strong>the</strong> public to participate in such events: to be harangued <strong>and</strong><br />
provoked, <strong>and</strong> to have <strong>the</strong> opportunity to heckle <strong>and</strong> assault in return.<br />
Moreover, this desire for self- assertion on <strong>the</strong> part <strong>of</strong> <strong>the</strong> audience was<br />
already manifest in art galleries elsewhere in Europe. K<strong>and</strong>insky recalled<br />
that during an exhibition in Munich in 1910, ‘<strong>the</strong> owner <strong>of</strong> <strong>the</strong> gallery<br />
complained that after <strong>the</strong> exhibition closed each day he had to wipe clean<br />
<strong>the</strong> canvases upon which <strong>the</strong> public had spat . . . but <strong>the</strong>y did not cut up <strong>the</strong><br />
canvases, as happened to me once in ano<strong>the</strong>r city during my exhibition’. 15<br />
A year later Albert Gleizes, writing on <strong>the</strong> Cubist section <strong>of</strong> <strong>the</strong> Salon<br />
d’Automne in Paris, noted that <strong>the</strong> room became ‘a mob like <strong>the</strong> one at <strong>the</strong><br />
Indépendants’:<br />
People struggle at <strong>the</strong> doors to get in, <strong>the</strong>y discuss <strong>and</strong> argue in front <strong>of</strong><br />
<strong>the</strong> pictures; <strong>the</strong>y are ei<strong>the</strong>r for or against, <strong>the</strong>y take sides, <strong>the</strong>y say what<br />
<strong>the</strong>y think at <strong>the</strong> tops <strong>of</strong> <strong>the</strong>ir voices, <strong>the</strong>y interrupt one ano<strong>the</strong>r, protest,<br />
lose <strong>the</strong>ir tempers, provoke contradictions; unbridled abuse comes up<br />
against equally intemperate expressions <strong>of</strong> admiration; it is a tumult <strong>of</strong><br />
cries, shouts, bursts <strong>of</strong> laughter, protests. 16<br />
In this context, Futurism’s innovation was not so much about empowering<br />
<strong>the</strong> audience as harnessing <strong>and</strong> redirecting its energy <strong>and</strong> attention: Futurism<br />
created <strong>the</strong> conditions for a symbiosis between an artistic embrace <strong>of</strong><br />
violence <strong>and</strong> audiences who wanted to be part <strong>of</strong> a work <strong>of</strong> art <strong>and</strong> feel<br />
legitimated to participate in its violence. Importantly, this applied not only<br />
to working- class members <strong>of</strong> <strong>the</strong> audience at Futurist serate but also to <strong>the</strong><br />
upper <strong>and</strong> middle classes who threw vegetables <strong>and</strong> eggs, <strong>and</strong> brought<br />
along car horns, cow bells, whistles, pipes, rattles <strong>and</strong> banners. The aim<br />
was to produce a space <strong>of</strong> participation as one <strong>of</strong> total destruction, in which<br />
expressions <strong>of</strong> hostility were available to all classes as a brutal form <strong>of</strong><br />
entertainment.<br />
Theatrically framed provocation was not <strong>the</strong> only means deployed by<br />
Futurists to stir up public opinion. It was supported by o<strong>the</strong>r public activities:<br />
meetings, riots, speeches, poetic tournaments, picket lines, rallies<br />
<strong>and</strong> boycotts. In 1910, for example, Marinetti <strong>and</strong> friends climbed <strong>the</strong><br />
campanile in St Mark’s Square, Venice, to shower 80,000 copies <strong>of</strong> <strong>the</strong>ir<br />
46