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necessary. The elements that are used in all of these process-based experiences, a vital process, are those that are a part of it instead of being isolated objects: they are orders in a totality .. . ' [ ... ] A Kiss for you, Helio HeliCaetaGerio - composite name for Helio Oiticica, Caetano Veloso and Rogerio Duarte, suggesting that Helio was at that moment immersed in his ideas and activities respectively with the singer/composer and the graphic designer/poet/composer {Translator]. For further reading on the collaboration between Oiticica, VelosQ, Duarte and others see Tropicdlia: A Revolution in Brazilian Cuitllre, ed. Carlos Basualdo (Chicago: Museum of Contemporary Art/Sao Paulo: Cesac Naify, 2005). 2 The modernist poet Oswaldo de Andrade (1890-1954) was the author of polemical texts on Brazilian cultural identity which influenced these artists, particularly his notion of 'cultural cannibalism' in the 'Anthropophagite Manifesto' published in Revista de Antropojagia, No. 1 (Sao Paulo, May 1928), translated in Dawn Ades, Art in Latin America: The Modern Era, 1820-1980 (New Haven: Yale University Press, 1989). 3 'Pia': slang meaning approximately 'context'. ITranslator} 4 'Cre' from create, see: Oiticica's concept of Creleisure. ITranslator} Letters between Lygia Clark and Helio Oiticica, reprinted in Luciano Figueiredo (ed), Lygia Clark ¥Helio Oiticica: Cartas (1964-74) (Rio de Janeiro: Editora UFRJ, 1996) 61-2, 69-73, 83-6, 121-2. Translated by Michael Asbury, 2006. 116// ARTISTS' WRITINGS
Graciela Carnevale Project for the Experimental Art Series, Rosario/ /1968 1968 saw an irruption of politicized participatory practice in many countries, and took a particularly dramatic fo rm in Argentina, The Experimental Art Cycle was a series of actions in Rosario, many of which worked on the audience as a privileged artistic material, Graciela Carnevale's project represents the most extreme example of this approach, In the years that followed, Carnevale, like many of the artists involved in the Cycle, abandoned art for teaching. The work consists of first preparing a totally empty room, with totally empty walls; one of the walls, which was made of glass, had to be covered in order to achieve a suitably neutral space for the work to take place. In this room the participating audience, which has come together by chance for the opening, has been locked in. The door has been hermetically closed without the audience being aware of it. I have taken prisoners. The point is to allow people to enter and to prevent them from leaving. Here the work comes into being and these people are the actors. There is no possibility of escape, in fact the spectators have no choice; they are obliged, violently, to participate. Their positive or negative reaction is always a form of participation. The end of the work, as unpredictable for the viewer as it is for me, is nevertheless intentioned: will the spectator tolerate the situation passively? Will an unexpected event - help from the outside - rescue him from being locked in? Or will he proceed violently and break the glass? Through an act of aggression, the work intends to provoke the viewer into awareness of the power with which violence is enacted in everyday life. Daily we submit ourselves, passively, out of fear, or habit, or complicity, to all degrees of violence, from the most subtle and degrading mental coercion from the information media and their false reporting, to the most outrageous and scandalous violence exercised over the life of a student. The reality of the daily violence in which we are immersed obliges me to be aggressive, to also exercise a degree of violence - just enough to be effective - in the work. To that end, I also had to do violence myself. I wanted each audience member to have the experience of being locked in, of discomfort, anxiety, and ultimately the sensations of asphyxiation and oppression that go with any act of unexpected violence. I made every effort to foresee the reactions, risks and dangers that might attend this work, and I consciously assumed responsibility for the consequences and implications. I think an important element in the Carnevalej jProject for the Experimental Art Series, Rosario/ /117
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Roland Barthesl I Joseph Beuysl/Nic
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Documents of Contemporary Art
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Documents of Contemporary Art In re
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THEORETICAL FRAMEWORKS Umberto Eco
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Claire Bishop Introduction/ /Viewer
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media in the form of reality televi
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culture by those subjugated to its
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onto solid ground: 3 For a detailed
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Umberto Bco The Poetics of the Open
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dialectics between the work of art
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Henri Pousseur cited by Umberto Eco
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the necessary and the univocal is a
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the more true of poetic works that
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same sense that a debate is 'open'.
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and sensation - in short, an empiri
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the objects which are actually perc
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fact, to use Einstein's words, pres
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to a continuous generation of inter
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'enjoyment' of a work of art repres
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e found in ordinary culture is tyra
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meaning (the 'message' of the Autho
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Peter Burger The Negation of the Au
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talents, though with the proviso th
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that would have consequences within
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false sublation of autonomous art.'
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Jean-Luc Nancy The Inoperative Comm
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the stumbling block to thinking of
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unknown to Lenin, Stalin and Trotsk
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irreparable) rupture in this commun
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us, community has never taken place
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have imagined their death reabsorbe
Page 68 and 69: peculiar gesture - the impossibilit
Page 70 and 71: This is why community cannot arise
Page 72 and 73: Georges BataHle, Oeuvres Completes,
Page 74 and 75: nomadism practised by populations t
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Page 78 and 79: is also the thought of what is rela
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Page 86 and 87: It is having to negotiate the relat
Page 88 and 89: a fantastical poetry made from the
Page 90 and 91: distance then replaces provocative
Page 92 and 93: throughout society.' Through this d
Page 94 and 95: in their own ways, the great fresco
Page 97 and 98: ARTISTS' WRITINGS Guy Debord Toward
Page 99 and 100: a city would tend to induce a singl
Page 101 and 102: diminish, while the share of those
Page 103 and 104: for fighting, on the level of the p
Page 105 and 106: fulfils neither its implications no
Page 107 and 108: Helio Oiticica Dance in My Experien
Page 109 and 110: this structure and vice-versa with
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Page 113 and 114: what's great is this diversity of p
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Page 121 and 122: ese eaple are t e � ctors� ere
Page 123 and 124: 11:20 a.m. The discussion expands:
Page 125 and 126: Joseph Beuys and Dirk Schwarze, Rep
Page 127 and 128: Joseph l3euys I Am Searching for Fi
Page 129 and 130: Collective Actions Ten Appe(m:mces/
Page 131 and 132: around the names of the events depi
Page 133 and 134: lack culture. This first part of th
Page 135 and 136: dialogues with anywhere from one to
Page 137 and 138: Group Materia! On Democracy// 1990
Page 139 and 140: people discussing their relation to
Page 141 and 142: project which took place in 1993. T
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Page 145 and 146: is documented in the book Transnaci
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Page 149 and 150: from the outset because there seeme
Page 151 and 152: Rirkrit Tiravcmija No Ghosts in the
Page 153 and 154: and space continuum which has been
Page 155 and 156: were slowly shipped to Vienna. As t
Page 157 and 158: with works of art. I can seize thei
Page 159 and 160: computers and space for working. Ma
Page 161 and 162: CRITICAL AND CURATORIAL POSITIONS N
Page 163 and 164: Once it had been elevated to the st
Page 165 and 166: Conviviality ami encollnters A work
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are quite happy to create modus viv
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correspond to a relational world fo
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8 Georges Bataille, 'L'Apprenti sor
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subject's interaction with culture
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alternative to authoritarian societ
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according to Nielsen, socially irra
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The public bath and sauna were inst
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of activism. They worked with squat
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Troels Andersen - and together they
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picture, then I shall portray it as
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The Utopia Station in Venice, the c
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invitation to self-organize speaks
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critical' deviCes of Marcel Broodth
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international team led by Okwui Enw
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society of extras, where everyone f
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work was included in Global Concept
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d'art moderne de la Ville de Paris.
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1990. 157-8 (oJlective Actions, Kol
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Laddaga, ReinaJdo, Estetica de fa e
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Defert, Daniel 156 Deleuze, Gilles
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Ray, Charles 88 Reagan, Ronald 135
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'i/ildm J)/(isj.ano '(,:kii:8 :1'::
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