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THEORETICAL FRAMEWORKS Umberto Eco The Poetics of the Open Workj j0;20 Roland Barthes The Death of the Authorj j041 Peter Burger The Negation of the Autonomy of Art by the Avant-garde j j046 Jean-Luc Nancy The Inoperative Community'! jO!')4 Edouard Glissani Poetics of Relationj jOn Felix GuaUari Chaosmosis: An Ethico-Aesthetic \ Paradigmj j079 Jacques Ranciere Problems and Transformations in Critical Art; j083
Page 3 and 4: Roland Barthesl I Joseph Beuysl/Nic
Page 5 and 6: Documents of Contemporary Art
Page 7: Documents of Contemporary Art In re
Page 10 and 11: THEORETICAL FRAMEWORKS Umberto Eco
Page 12 and 13: Claire Bishop Introduction/ /Viewer
Page 14 and 15: media in the form of reality televi
Page 17 and 18: culture by those subjugated to its
Page 19: onto solid ground: 3 For a detailed
Page 23 and 24: contrary, tends to develop towards
Page 25 and 26: up to it and which factors in moder
Page 27 and 28: eventually poetry, figurative arts)
Page 29 and 30: canons fell out out fashion, while
Page 31 and 32: In Finnegans Wake we are faced with
Page 33 and 34: goal of his activities but also the
Page 35 and 36: longer the only instrument of philo
Page 37 and 38: in that of consciousness; it is its
Page 39 and 40: This happens in the musical works w
Page 41 and 42: already implied and subsumed by eve
Page 43 and 44: Roland Barthes The Death o! the Aut
Page 45 and 46: disappointment of expectations of m
Page 47 and 48: very precise - example will help to
Page 49 and 50: the bourgeois class, Production and
Page 51 and 52: understood with particular clarity.
Page 53 and 54: provocation no longer provokes; it
Page 55 and 56: form, connected to the skill and th
Page 57 and 58: the present world is seeing perish
Page 59 and 60: An inconsequential atomism, individ
Page 61 and 62: of the work, or effectuating itself
Page 63 and 64: the same time as it is the most anc
Page 65 and 66: governed by it. Thus the logic of N
Page 67 and 68: ... mortuus. If the I cannot say th
Page 69 and 70: it always presents itself at a hear
Page 71 and 72:
The reasons for writing a book can
Page 73 and 74:
Edouard Glissant Poetics 01 Relatio
Page 75 and 76:
senses of identity, in concentric c
Page 77 and 78:
in opposition to the processes of i
Page 79 and 80:
vocation of errantry, their point o
Page 81 and 82:
Felix Guaitari Chaosmosis: Ethico-A
Page 83 and 84:
How do you make a class operate lik
Page 85 and 86:
Jacques Ranciere Problems and Trans
Page 87 and 88:
that one may play at once on the ra
Page 89 and 90:
etween form and content, that thems
Page 91 and 92:
ecome, if pushed, indistinguishable
Page 93 and 94:
detoumement: the Andalusian mountai
Page 95:
The}l1non Llldovisi is a statue des
Page 98 and 99:
Guy Debord Towards a Situationist I
Page 100 and 101:
working class's incapacity to becom
Page 102 and 103:
unlike aesthetic processes which ai
Page 104 and 105:
Allan KaplOw Notes on the Eliminati
Page 106 and 107:
There is an exception, however, to
Page 108 and 109:
ecreation of the image, encompassin
Page 110 and 111:
spectator but neither can I conside
Page 112 and 113:
Lygia Clark and Helio Oiticica Lett
Page 114 and 115:
express. Caetano [Veloso [ for exam
Page 116 and 117:
what is important: thought. I think
Page 118 and 119:
necessary. The elements that are us
Page 120 and 121:
conception of the work is the consi
Page 122 and 123:
Joseph Beuys and Dirk Schwarze Repo
Page 124 and 125:
art, I want to affect all areas of
Page 126 and 127:
time. For example, I have the offic
Page 128 and 129:
Communication occurs in reciprocity
Page 130 and 131:
longer be seen. Each of the partici
Page 132 and 133:
Adrian Piper Notes on Funk, I-H11 1
Page 134 and 135:
Adrian Piper, Notes on Funk I, 1985
Page 136 and 137:
fear or shame, and so to gain a dee
Page 138 and 139:
accepted understandings of art and
Page 140 and 141:
Eda Cuier Transnacionalaj A Journey
Page 142 and 143:
political, economic and individual
Page 144 and 145:
and economic exchange which would t
Page 146 and 147:
Carsten Holler The Baudouin/Boudewi
Page 148 and 149:
Jeremy Deller The BatHe of Orgreave
Page 150 and 151:
w@ @cuw 0[QJO@UU Gill@ 0@@wG ®u cu
Page 152 and 153:
and her assistants sitting there am
Page 154 and 155:
Tiravanija most often if not always
Page 156 and 157:
Thomas Hirschhorn 24h Foucault; /20
Page 158 and 159:
philosopher friend Marcus Steinweg
Page 160 and 161:
COLlABORATION IS THE ANSWER BUT WHA
Page 162 and 163:
Nicolas Bourriaud Relational Aesthe
Page 164 and 165:
keep the streets clean. The same li
Page 166 and 167:
the current enthusiasm for revisite
Page 168 and 169:
obvious bacl
Page 170 and 171:
a concern for democracy. For art do
Page 172 and 173:
contemporary artists who create and
Page 174 and 175:
l.ars Bang l.arsen Socia! Aesthetic
Page 176 and 177:
possibilities for playing as few? W
Page 178 and 179:
Palle Nielsen's projects for Festiv
Page 180 and 181:
installation. Actual participation
Page 182 and 183:
collectively, in the exhibition as
Page 184 and 185:
emodelling of the inner city to the
Page 186 and 187:
Molly Nesbit, Hans-Ulrich Obrist, R
Page 188 and 189:
small rooms in which you will see i
Page 190 and 191:
from experience itself, lmowledge a
Page 192 and 193:
Hal Foster Chat Rooms/ /2004 The An
Page 194 and 195:
globalization is advanced (it is a
Page 196 and 197:
sites', while Tiravanija rejects 't
Page 198 and 199:
Biographical Notes Roland Barthes (
Page 200 and 201:
Felix Guattari (1930-92) was a Fren
Page 202 and 203:
Bibliography Agamben, Giorgio, The
Page 204 and 205:
Gonzales�Torres, Felix, interview
Page 206 and 207:
Index Adorno, Theador 184 Althusser
Page 208 and 209:
joyce,james 28-9, 32 Kabakov, I1ya
Page 210 and 211:
ACKNOWL Editor's ackno Many thanks
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