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conception of the work is the consideration of the natural impulses that get repressed by a social system designed to create passive beings, to generate resistance to action, to deny, in sum, the possibility of change. The 'lock up' has already been incorporated in the verbal .image (literature) and in the visual image (film). Here the gambit is not filtered through anything imaginary; rather it is experienced, at once vitally and artistically. I consider that materializing an aggressive act on the aesthetic level as an artistic event necessarily implies great risk. But it is preCisely this risk that clarifies the art in the work, that gives a clear sense of art, relegating to other levels of meaning whatever psychological or sociological sense the work might have. Graciela Carnevale, statement originally published as part of a series of brochures accompanying the 'Cida de Me Experimental', Carnevale's exhibition took place in Rosario, 7-19 October 1968; trans. Marguerite Feitlowitz, in AndreaJiunta and Ines Katzenstein, eds, Listen, Here, Now! Argentine Art of the 1960$ (New York: The Museum of Modern Art. 2004) 299-301. 118// ARTISTS' WRITINGS
ese eaple are t e � ctors� ere IS 0 possibilit of esc pe. I f ct t e spect tors e� o · c Olce� e re oblige iole tl to rticipate, Graciela Carnevale, Project for the ExpeJimentaJ Alt Series, Rosario, 1968
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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
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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
Page 80 and 81: Root identity - is founded in the d
Page 82 and 83: the possible 'far from the equilibr
Page 84 and 85: the planet is going through - such
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
Page 111 and 112: invited to walk through the tonal d
Page 113 and 114: what's great is this diversity of p
Page 115 and 116: stimulates it, in an erotic way too
Page 117 and 118: who reaches, more and more profound
Page 119: Graciela Carnevale Project for the
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
Page 143 and 144: and intellectual communities reveal
Page 145 and 146: is documented in the book Transnaci
Page 147 and 148: from providing a programme or metho
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
Page 167 and 168: stylistic, thematic or iconographic
Page 169 and 170: 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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