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accepted understandings of art and culture? Whose interests are served by such cultural conventions? How is culture made, and for whom is it made?' In conceptualizing this project, therefore, we proposed a structure that differed from the conventional art exhibitions, lectures and panels that Dia had previously sponsored. We identified four significant areas of the crisis in democracy: education, electoral politics, cultural participation and AIDS. For each topic, we collaboratively organized a round table discussion, an exhibition and a town meeting. For each round table we invited individual speakers from diverse professions and perspectives to participate in an informal conversation. These discussions helped us to prepare the installations and provided important information for planning the agendas for the town meetings. Each of the four exhibitions that we installed at 77 Wooster Street reiterated the interrelatedness of our subjects and the necessity of our collaborative process. Our working method might best be described as painfully democratic: because so much of our process depends on the review, selection and critical juxtaposition of innumerable cultural objects, adhering to a collective process is extremely time-consuming and difficult. However, the shared learning and ideas produce results that are often inaccessible to those who work alone. Our exhibitions and projects are intended to be forums in which multiple points of view are represented in a variety of styles and methods. We believe, as the feminist writer bell hooks has said, that 'we must focus on a policy of inclusion so as not to mirror oppressive structures'. As a reSUlt, each exhibition is a veritable model of democracy. Mirroring the various forms of representation that structure our understanding of culture, our exhibitions bring together socalled fine art with products from supermarkets, mass-cultural artefacts with historical objects, actual documentation with homemade projects. We are not interested in making definitive evaluations or declarative statements, but in creating situations that offer our chosen subject as a complex and open-ended issue. We encourage greater audience partiCipation through interpretation. One form of participation was the town meeting held for each exhibition. These meetings were well publicized and were open to the public at large. In selecting the town meeting format, we meant not only to allude to the prototypical democratic experience but also to eliminate the demarcation between experts and the public so evident at most public lectures. For the town meetings all audience members were potential participants. Beyond the desire to erode such traditional categories, our expectations for these discussions were somewhat undefined. In the end, each town meeting had a life of its own, determined not only by the moderator, but by who was in the audience and who among them had the courage to speak up. Much of the public discussion built on issues raised in the round table meetings, and it was gratifying to hear different 136// ARTISTS' WRITINGS
people discussing their relation to those issues. The final part of 'Democracy', and perhaps the most important, is this book. Through this book we tried to encapsulate many of the ideas that went into and came out of the Democracy Project in order to make them available to a far wider public than could attend the events. We organized this publication very much as we organize our exhibitions, bringing together a variety of voices and points of view to address the issues. In this case, we hope that the results provide a strong analysis of the current situation of democracy in America and suggest possible means for responding to its challenges. 1 1 . .. Group Materia! (Doug Ashford. Julie Ault, Felix Gonzalez-Torres), Democracy: A Project by Group Material (Seattle: Bay Press, 1990) 1-3. Group Material/jOn Democracy/ /137
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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
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This is why community cannot arise
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Georges BataHle, Oeuvres Completes,
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nomadism practised by populations t
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case its being surpassed, it tells
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is also the thought of what is rela
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Root identity - is founded in the d
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the possible 'far from the equilibr
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the planet is going through - such
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It is having to negotiate the relat
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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 and 120: Graciela Carnevale Project for the
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: Group Materia! On Democracy// 1990
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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Page 173 and 174: 8 Georges Bataille, 'L'Apprenti sor
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Page 177 and 178: alternative to authoritarian societ
Page 179 and 180: according to Nielsen, socially irra
Page 181 and 182: The public bath and sauna were inst
Page 183 and 184: of activism. They worked with squat
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Page 187 and 188: 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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