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small rooms in which you will see installations and projections. The wall wraps around the rooms and binds the ensemble into a long irregular structure. Over it floats a roof suspended on cables from the ceiling of the cavernous room in the old warehouse at the far end of the Arsenale where the Station sits. Outside the warehouse lies a rough garden. Work from the Station will spill into it. The Station itself will be filled with objects, part-objects, paintings, images, screens. Around them a variety of benches, tables and small structures take their place. It will be possible to bathe in the Station and powder one's nose. The Station in other words becomes a place to stop, to contemplate, to listen and see, to rest and refresh, to talk and exchange. For it will be completed by the presence of people and a programme of events. Performances, concerts, lectures, readings, film programmes, parties, the events will multiply. They define the Station as much as its solid objects do. But all kinds of things will continue to be added to the Station OVer the course of the summer and fall. People will leave things behind, tal
The Utopia Station in Venice, the city of islands, is part of a larger project. Utopia Stations do not require architecture for their existence, only a meeting, a gathering. We have already had several in Paris, in Venice, in Franl
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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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a fantastical poetry made from the
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distance then replaces provocative
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throughout society.' Through this d
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in their own ways, the great fresco
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ARTISTS' WRITINGS Guy Debord Toward
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a city would tend to induce a singl
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diminish, while the share of those
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for fighting, on the level of the p
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fulfils neither its implications no
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Helio Oiticica Dance in My Experien
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this structure and vice-versa with
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invited to walk through the tonal d
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what's great is this diversity of p
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stimulates it, in an erotic way too
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who reaches, more and more profound
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Graciela Carnevale Project for the
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ese eaple are t e � ctors� ere
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11:20 a.m. The discussion expands:
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Joseph Beuys and Dirk Schwarze, Rep
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Joseph l3euys I Am Searching for Fi
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Collective Actions Ten Appe(m:mces/
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around the names of the events depi
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lack culture. This first part of th
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dialogues with anywhere from one to
Page 137 and 138: Group Materia! On Democracy// 1990
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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
Page 167 and 168: stylistic, thematic or iconographic
Page 169 and 170: are quite happy to create modus viv
Page 171 and 172: correspond to a relational world fo
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
Page 185 and 186: Troels Andersen - and together they
Page 187: picture, then I shall portray it as
Page 191 and 192: invitation to self-organize speaks
Page 193 and 194: critical' deviCes of Marcel Broodth
Page 195 and 196: international team led by Okwui Enw
Page 197 and 198: society of extras, where everyone f
Page 199 and 200: work was included in Global Concept
Page 201 and 202: d'art moderne de la Ville de Paris.
Page 203 and 204: 1990. 157-8 (oJlective Actions, Kol
Page 205 and 206: Laddaga, ReinaJdo, Estetica de fa e
Page 207 and 208: Defert, Daniel 156 Deleuze, Gilles
Page 209 and 210: Ray, Charles 88 Reagan, Ronald 135
Page 211: 'i/ildm J)/(isj.ano '(,:kii:8 :1'::
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