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

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artificial hells demanding an active role can be seen by the lengths to which they went to buy food to hurl on stage, or bring musical instruments along to the theatre. Breton struggled to negotiate this transition away from consuming violence and towards an intelligible stance of moral consistency through the creation of small- scale collectively realised social actions, in which the audience position was more prescribed, but which were perceived at the time to be failures. By contrast, the mobilisation of mass audiences and performers in St Petersburg abandoned any pretence to spontaneity; as Lunacharsky stipulated, ‘by means of General Military Instruction, we create rhythmically moving masses embracing thousands of and tens of thousands of people – and not just a crowd, but a strictly regulated, collective, peaceful army sincerely possessed by one defi nite idea’. 122 Paris and St Petersburg thus stand as polar opposites in the imagination of an unframed art in public space. In Paris Dada, an authored and subversive lineage attempts to provoke audience- participants into a self- refl exive examination of their norms and mores; in Russian mass spectacle, the state imposes the aesthetic potency of collective presence to provide a focus for national achievement masked as a celebration of transnational proletarian identity. If the former is disruptive or interventionist, presenting small- scale instances of dissensus in the face of dominant moral and aesthetic norms, the latter is constructive and affi rmative, presenting public space as the locus of an artifi cial mass cohesion. In all three instances, which tentatively mark out a new territory for audience inclusion in the twentieth century, the issue of participation becomes increasingly inextricable from the question of political commitment. For Futurism, participation ushered in an active embrace of right- wing nationalism. In post- revolutionary Russia, participation denoted an affi rmation of revolutionary ideals. Only Dada, in its negation of all political and moral positions, provided a compelling alternative to ideologically motivated participation, even while its Parisian iteration moved towards a position of moral analysis and judgement. 123 As such it is popular today to claim that such art is ‘implicitly political’, as if this term had any identifi able meaning; if this phrase tells us anything, it is less about Dada’s (anti- ) artistic achievements than the pervasiveness of our present- day determination to fi nd a ‘political’ character for art in the face of liberal democratic consensus. The relationship between artistic form and political commitment becomes increasingly fraught as these early case studies transform in the following decades: Dada and Surrealist excursions become the Situationist dérive, while the most immediate heir to Russian mass spectacle is found in the grotesque displays of military prowess and mass conformity at the Nuremberg rallies (which deployed the slogan ‘No spectators, only actors’ to describe its liturgical form of mass participation). 124 The memory of these totalitarian regimes weighed heavily on the post- war generation, for whom mass organisation became anathema. Instead, as we shall see in 74
artificial hells the following chapter, participation was directed away from the imposition of social equality and onto the question of freedom: a celebration of the everyday worker was replaced by a re- evaluation of everyday objects and experiences as a point of opposition to cultural hierarchy. 75
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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,
Page 28 and 29: Rachel Whiteread, House, 1993 Lorai
Page 30 and 31: artificial hells historical avant-
Page 32 and 33: artificial hells the drawbacks of t
Page 34 and 35: artificial hells sensoriality from
Page 36 and 37: artificial hells the same time, Del
Page 38 and 39: artificial hells politically self-
Page 40 and 41: artificial hells societies. 76 Beca
Page 42 and 43: artificial hells passive always end
Page 44 and 45: artificial hells ‘good soul’; i
Page 46 and 47: artificial hells I. Provocation, Pr
Page 48 and 49: artificial hells From the beginning
Page 50 and 51: artificial hells perhaps regard the
Page 52 and 53: artificial hells On the other hand,
Page 54 and 55: artificial hells productions, and t
Page 56 and 57: artificial hells real work, applyin
Page 58 and 59: artificial hells Kerzhentsev advoca
Page 60 and 61: artificial hells It is unsurprising
Page 62 and 63: artificial hells fi gure is Kerzhen
Page 64 and 65: artificial hells Re-enactment of th
Page 66 and 67: artificial hells It goes without sa
Page 68 and 69: Hooter Symphony, c.1920 Conductor o
Page 70 and 71: artificial hells experiments of thi
Page 72 and 73: Excursions and Visits, fl yer for t
Page 74 and 75: artificial hells started to scatter
Page 76 and 77: artificial hells point of quasi- an
Page 80 and 81: Atelier Populaire, Je participe, tu
Page 82 and 83: artificial hells Khatib’s ‘Atte
Page 84 and 85: artificial hells studies (many of w
Page 86 and 87: artificial hells exhibitions in Par
Page 88 and 89: artificial hells prompting a media
Page 90 and 91: artificial hells the constructed si
Page 92 and 93: artificial hells during the 1940s.
Page 94 and 95: artificial hells a critique of art
Page 96 and 97: Groupe Recherche d’Art Visuel, it
Page 98 and 99: artificial hells Happenings in Euro
Page 100 and 101: artificial hells Lebel pushed a pra
Page 102 and 103: artificial hells Jean-Jacques Lebel
Page 104 and 105: artificial hells Most of the time,
Page 106 and 107: artificial hells then this also req
Page 108 and 109: artificial hells alternative; toget
Page 110 and 111: artificial hells Brazil in that it
Page 112 and 113: artificial hells with photographs o
Page 114 and 115: artificial hells decision to provid
Page 116 and 117: artificial hells 1965), an ambitiou
Page 118 and 119: artificial hells Oscar Bony, The Wo
Page 120 and 121: artificial hells ephemerality of wo
Page 122 and 123: artificial hells more light- hearte
Page 124 and 125: artificial hells The work consists
Page 126 and 127: 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
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notes to pages 150- 4 almost no int
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notes to pages 159- 60 What I wante
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notes to pages 165- 7 Lawson, Julie
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notes to pages 170- 1 28 Ibid., p.
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notes to pages 173- 5 48 See Brisle
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notes to pages 179- 81 which saw cr
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notes to pages 185- 8 limited, and
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notes to pages 194- 8 4 In his intr
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notes to pages 202- 6 their work, i
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notes to pages 209- 14 48 Rirkrit T
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notes to pages 217- 23 Gonzalez- Fo
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notes to pages 226- 9 using the fi
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notes to pages 234- 8 34 In other w
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notes to pages 242- 3 e- fl ux jour
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notes to pages 251- 7 de Aizpuru in
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notes to pages 266- 8 49 Jacques Ra
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notes to pages 273- 6 70 ‘Patentl
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notes to pages 283- 4 newspaper, in
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illustration credits Chapter 3 p. 7
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illustration credits p. 184 (top) T
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illustration credits p. 235 Pierre
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Abramovic, Marina, 219, 230 A.C.A.D
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Classic Escape (book), 149 Clegg &
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Hackney Writers Workshop, 173 Hagoo
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Moreau, Gustave, 95 Müller, Christ
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‘Sonsbeek 93,’ (exhibition) 198
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On the Typeface Artifi cial Hells i
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