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

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Atelier Populaire, Je participe, tu participes, il participe…, 1968. Poster screenprint on paper.
3 Je participe, tu participes, il participe . . . With its roots in Dada excursions and Surrealist nocturnal strolls, the dérive, or goal- less ‘drifting’, was employed by artists and writers associated with the Situationist International (SI) from the early 1950s to the late ’60s as a form of behavioural disorientation. Best undertaken during daylight hours, and in groups of two or three like- minded people, the dérive was a crucial research tool in the Situationist para- discipline of ‘psychogeography’, the study of the effects of a given environment on the emotions and behaviour of individuals. As a mode of increasing one’s awareness of (specifi cally urban) surroundings, the dérive differed from Surrealist wandering in that it placed less emphasis on automatism and the individual unconscious. Rather than being an end in itself, the dérive was a form of data- gathering for Situationist ‘unitary urbanism’, an attempt to undo and move beyond what they saw as the disciplining, homogenising and ultimately dehumanising effect of modernist forms of urban high- rise living, exemplifi ed by the modular architecture of Le Corbusier. 1 From an art historical perspective, the dérive offers very little for visual analysis. Written accounts, which Debord described as ‘passwords to this great game’, tend to be variable in their usefulness. 2 An early report from 1953 describes Debord undertaking an ‘extended dérive’ with Gilles Ivain and Gaetan Langlais; this amounts to little more than hanging around in bars on New Year’s Eve, speaking loudly to aggravate the other customers until Debord becomes ‘dead drunk’; after this, Ivain ‘continues alone for a few hours with a similarly marked success’. 3 New Year’s Day carries on in much the same fashion, but in a Jewish bar. The report of 6 March 1956 is more in keeping with what one might hope to fi nd in a dérive: Debord and Gil Wolman drift north from the rue des Jardins- Paul and fi nd an abandoned rotunda by Claude- Nicolas Ledoux. 4 They continue to drift around the district of Aubervilliers, taking in a bar, and end the dérive when it gets dark. Although this particular dérive is described as being ‘of little interest of such’, it is strikingly fl aneurial, in contrast to the overtly critical and political tenor of other Situationist texts. 5 Other psychogeographical reports are more analytical, if less vividly narrative, such as Abdelhafi d 77
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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
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 78 and 79: artificial hells demanding an activ
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
Page 128 and 129: 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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