Artificial Hells: Participatory Art and the Politics of Spectatorship

摘要: For over a decade, conceptual and performance art has been dominated by participatory art. Its champions, such as French curator Nicolas Bourriaud (who invented the term "relational aesthetics" to describe it) American historian Grant Kester, believe that encouraging an audience join in, artist can promote new emancipatory social relations. Artificial Hells is first historical theoretical overview of socially engaged The book follows trajectory twentieth-century examines key moments in development aesthetic, both Europe America. This itinerary takes Futurism, Dada, Situationism, Czechoslovakian Happenings, Argentinean Conceptualism, concludes with contemporary artists Thomas Hirschhorn, Tania Bruguera Jeremy Deller. Since her controversial essay Artforum 2006, Claire Bishop one few expose political aesthetic limitations this work. In she not only scrutinizes claims for democracy emancipation critics make work, but also questions turn ethical (rather than artistic) criteria invited collaborative