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Artificial Hells: Participatory Art and the Politics of Spectatorship

Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson.Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan.Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
2012-07-24
https://slsp-fhnw.primo.exlibrisgroup.com/permalink/41SLSP_FNW/dglg56/alma990075509130205518


Full spec

CallNumber
700.1 BISH Ex.B
DateAdded
2021-04-29T09:08:01Z
DateModified
2021-10-01T12:51:28Z
Handle
20.500.11806/med/3930
ISBN
978-1-84467-796-2
Key
27TEP2HS
Language
en
NumPages
401
Publisher
Verso Books
ShortTitle
Artificial Hells