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Co-published by Whitechape! and The MIT Press First published 2006 © 2006 Whitechapel Ventures Limited Texts © the authors, unless otherwise stated Whitechape! is the imprint of Whitechapel Ventures Limited All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the written permission of the publisher ISBN 0-85488-147-6 (Whitechapel) ISBN 0-262-52464-3 (The MIT Press) A catalogue record for this book is available from the British Library Library of Congress Cataloguing-in-Publication Data Participation f edited by Claire Bishop p. cm. - (Documents of contenlporary art series) Includes bibliographical references and index ISBN-13: 978-0�262�52464-3 (pbl
Documents of Contemporary Art In recent decades artists have progressively expanded the boundaries of ar they have sought to engage with an increasingly pluralistic environm Teaching, curating and understanding of art and visual culture are likewisE longer grounded in traditional aesthetics but centred on significant ideas, tOI and themes ranging from the everyday to the uncanny, the psychoanalytic, the political. The Documents of Contemporary Art series emerges from this context. E volume focuses on a specific subject or body of writing that has been of influence in contemporary art internationally. Edited and introduced by a sch, artist, critic or curator, each of these source books provides access to a pluralit voices and perspectives defining a significant theme or tendency. For over a century the Whitechapel Gallery has offered a public platform art and ideas. In the same spirit, each guest editor represents a distinct diverse approach - rather than one institutional position or school of thoug' and has conceived each volume to address not only a professional audience all interested readers. Series editor: lwona Blazwick Editorial Advisory Board: Roger Conover, Neil Cummings. Emma Dexter, Mark Francis Commissioning editor: Ian Farr
Page 3 and 4: Roland Barthesl I Joseph Beuysl/Nic
Page 5: Documents of Contemporary Art
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 22 and 23: Umberto Bco The Poetics of the Open
Page 24 and 25: dialectics between the work of art
Page 26 and 27: Henri Pousseur cited by Umberto Eco
Page 28 and 29: the necessary and the univocal is a
Page 30 and 31: the more true of poetic works that
Page 32 and 33: same sense that a debate is 'open'.
Page 34 and 35: and sensation - in short, an empiri
Page 36 and 37: the objects which are actually perc
Page 38 and 39: fact, to use Einstein's words, pres
Page 40 and 41: to a continuous generation of inter
Page 42 and 43: 'enjoyment' of a work of art repres
Page 44 and 45: e found in ordinary culture is tyra
Page 46 and 47: meaning (the 'message' of the Autho
Page 48 and 49: Peter Burger The Negation of the Au
Page 50 and 51: talents, though with the proviso th
Page 52 and 53: that would have consequences within
Page 54 and 55: false sublation of autonomous art.'
Page 56 and 57:
Jean-Luc Nancy The Inoperative Comm
Page 58 and 59:
the stumbling block to thinking of
Page 60 and 61:
unknown to Lenin, Stalin and Trotsk
Page 62 and 63:
irreparable) rupture in this commun
Page 64 and 65:
us, community has never taken place
Page 66 and 67:
have imagined their death reabsorbe
Page 68 and 69:
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
Page 76 and 77:
case its being surpassed, it tells
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 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 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
Page 171 and 172:
correspond to a relational world fo
Page 173 and 174:
8 Georges Bataille, 'L'Apprenti sor
Page 175 and 176:
subject's interaction with culture
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 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 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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