Participatory Art and the Politics of Spectatorship - autonomous ...
Participatory Art and the Politics of Spectatorship - autonomous ...
Participatory Art and the Politics of Spectatorship - autonomous ...
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artificial hells<br />
dem<strong>and</strong>ing an active role can be seen by <strong>the</strong> lengths to which <strong>the</strong>y went to<br />
buy food to hurl on stage, or bring musical instruments along to <strong>the</strong> <strong>the</strong>atre.<br />
Breton struggled to negotiate this transition away from consuming<br />
violence <strong>and</strong> towards an intelligible stance <strong>of</strong> moral consistency through<br />
<strong>the</strong> creation <strong>of</strong> small- scale collectively realised social actions, in which<br />
<strong>the</strong> audience position was more prescribed, but which were perceived at<br />
<strong>the</strong> time to be failures. By contrast, <strong>the</strong> mobilisation <strong>of</strong> mass audiences<br />
<strong>and</strong> performers in St Petersburg ab<strong>and</strong>oned any pretence to spontaneity;<br />
as Lunacharsky stipulated, ‘by means <strong>of</strong> General Military Instruction, we<br />
create rhythmically moving masses embracing thous<strong>and</strong>s <strong>of</strong> <strong>and</strong> tens <strong>of</strong><br />
thous<strong>and</strong>s <strong>of</strong> people – <strong>and</strong> not just a crowd, but a strictly regulated,<br />
collective, peaceful army sincerely possessed by one defi nite idea’. 122<br />
Paris <strong>and</strong> St Petersburg thus st<strong>and</strong> as polar opposites in <strong>the</strong> imagination<br />
<strong>of</strong> an unframed art in public space. In Paris Dada, an authored <strong>and</strong><br />
subversive lineage attempts to provoke audience- participants into a self-<br />
refl exive examination <strong>of</strong> <strong>the</strong>ir norms <strong>and</strong> mores; in Russian mass spectacle,<br />
<strong>the</strong> state imposes <strong>the</strong> aes<strong>the</strong>tic potency <strong>of</strong> collective presence to provide<br />
a focus for national achievement masked as a celebration <strong>of</strong> transnational<br />
proletarian identity. If <strong>the</strong> former is disruptive or interventionist, presenting<br />
small- scale instances <strong>of</strong> dissensus in <strong>the</strong> face <strong>of</strong> dominant moral <strong>and</strong><br />
aes<strong>the</strong>tic norms, <strong>the</strong> latter is constructive <strong>and</strong> affi rmative, presenting<br />
public space as <strong>the</strong> locus <strong>of</strong> an artifi cial mass cohesion.<br />
In all three instances, which tentatively mark out a new territory for<br />
audience inclusion in <strong>the</strong> twentieth century, <strong>the</strong> issue <strong>of</strong> participation<br />
becomes increasingly inextricable from <strong>the</strong> question <strong>of</strong> political commitment.<br />
For Futurism, participation ushered in an active embrace <strong>of</strong><br />
right- wing nationalism. In post- revolutionary Russia, participation<br />
denoted an affi rmation <strong>of</strong> revolutionary ideals. Only Dada, in its negation<br />
<strong>of</strong> all political <strong>and</strong> moral positions, provided a compelling alternative to<br />
ideologically motivated participation, even while its Parisian iteration<br />
moved towards a position <strong>of</strong> moral analysis <strong>and</strong> judgement. 123 As such it is<br />
popular today to claim that such art is ‘implicitly political’, as if this term<br />
had any identifi able meaning; if this phrase tells us anything, it is less about<br />
Dada’s (anti- ) artistic achievements than <strong>the</strong> pervasiveness <strong>of</strong> our present-<br />
day determination to fi nd a ‘political’ character for art in <strong>the</strong> face <strong>of</strong> liberal<br />
democratic consensus. The relationship between artistic form <strong>and</strong> political<br />
commitment becomes increasingly fraught as <strong>the</strong>se early case studies transform<br />
in <strong>the</strong> following decades: Dada <strong>and</strong> Surrealist excursions become <strong>the</strong><br />
Situationist dérive, while <strong>the</strong> most immediate heir to Russian mass spectacle<br />
is found in <strong>the</strong> grotesque displays <strong>of</strong> military prowess <strong>and</strong> mass conformity<br />
at <strong>the</strong> Nuremberg rallies (which deployed <strong>the</strong> slogan ‘No spectators, only<br />
actors’ to describe its liturgical form <strong>of</strong> mass participation). 124 The memory<br />
<strong>of</strong> <strong>the</strong>se totalitarian regimes weighed heavily on <strong>the</strong> post- war generation,<br />
for whom mass organisation became ana<strong>the</strong>ma. Instead, as we shall see in<br />
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