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globalization is advanced (it is a precondition for this very international group of artists), and there are utopian moments, too: Tiravanija, for example, has organized a 'massive-scale artist-run space' called 'The Land' in rural Thailand, designed as a collective 'for social engagement'. More modestly, these artists aim to turn passive viewers into a temporary community of active interlocutors. In this regard Hirschhorn, who once worked in a Communist collective of graphic designers, sees his mal
international team led by Okwui Enwezor, was also conceived in terms of 'platforms' of discussion, scattered around the world, on such topics as 'Democracy Unrealized', 'Processes of Truth and Reconciliation', 'Creolite and Creolization' and 'Four African Cities'; the exhibition held in Kassel, Germany, was only the final such 'platform'. And this year the Venice Biennale, curated by another international group headed by Francesco Bonami, featured sections called 'Utopia Station' and 'Zone of Urgency', both of which exemplified the informal discursivity of much art-making and curating today. like 'kiosk', 'platform' and 'station' call up the Modernist ambition to modernise culture in accordance with industrial society (El Lissitzky spoke of his Constructivist designs as 'way-stations between art and architecture'). Vet today these terms evoke the electronic network, and many artists and curators fall for the Internet rhetoric of 'interactivity', though the means applied to this end are usually far more funky and face-to-face than any chat room on the Web. The forms of these books by Bourriaud [Relational Aesthetics; Postproductionj and Obrist, the chief curator at the Musee d'art moderne de la Ville de Paris, are as telling as the contents. The Bourriaud texts are sl(etchy - brief glosses of projects that use 'postproduction' techniques and seek 'relational' effects, while the Obrist tome is diffuse, with nearly a thousand pages of conversation with figures such as Jean Rouch and J.G. Ballard as well as the artists in question - and this is only volume I. (Ballard lets fly with a sharp aper,u; 'The psychological test is the only function of today's art shows', he says, with the Voung British Artists in mind, 'and the aesthetic elements have been reduced almost to zero: He means it as a compliment.) The conceptual artist Douglas Huebler once proposed to photograph everyone in the world; the peripatetic Obrist seems to want to talk to everyone (many of his interviews take place on planes). As with some of the art discussed in the book, the result oscillates between an exemplalY work of interdisciplinarity and a Babelesque confusion of tongues. Along with the emphaSis on discursivity and sociability, there is a concern with the ethical and the everyday: art is 'a way to explore other possibilities of exchange' (Huyghe), a model of 'living well' (Tiravanija), a means of being 'together in the everyday' (Orozco). 'Henceforth', Bourriaud declares, 'the group is pitted against the mass, neighbourliness against propaganda, low tech against high tech, and the tactile against the visual. And above all, the everyday now turns out to be a much more fertile terrain than pop culture: These possibilities of 'relational aesthetics' seem clear enough, but there are problems, too. Sometimes politics are ascribed to such art on the basis of a shaky analogy between an open work and an inclusive society, as if a desultOIy form might evoke a democratic community, or a non-hierarchical installation predict an egalitarian world. Hirschhorn sees his projects as 'never-ending construction Fosterj jChat Rooms/ /193
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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
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Group Materia! On Democracy// 1990
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people discussing their relation to
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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 151 and 152: Rirkrit Tiravcmija No Ghosts in the
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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
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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 and 188: picture, then I shall portray it as
Page 189 and 190: The Utopia Station in Venice, the c
Page 191 and 192: invitation to self-organize speaks
Page 193: critical' deviCes of Marcel Broodth
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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