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The Production of Social Space as Artwork 251Hazoumé, and Pascale Marthine Tayou have thoroughly dismantled the randomnessand poverty of the bricolage aesthetic by elaborating new sculptural and pictorialdevises with recycled material: Olé with his painterly and monumental refabricationsof urban architectural fragments; Adeagbo with his mnemonic recontextualizationsof archives of colonial and postcolonial history in his sculptural and sign paintingappropriations; and Hassan with his arresting collages of masks, portraits, and crowdsfabricated out of torn surplus billboard advertising prints that manifest an unusuallyraw festishistic power. Hazoumé’s plastic masks fashioned out of cut-out plastic jerrycans on the other hand reside uneasily between genuine sculptural experiments andafro-kitsch. The larger and more critical question is why has the bricolage aestheticpersisted for so long all across Africa, and in fact seems to be acquiring an evengreater acceptance in the work of even younger artists. The upshot is that for somereason recycling as an aesthetic option strangely continues to be seen by manyartists as a proper artistic choice for making art. This perhaps owes to the erroneousnotion that using recycled, impoverished material in clever ways somehow transformsand elevates the assembled oddities into innovative, albeit uncanny artisticproducts that raise local curiosity and please benevolent development workers.40. Tokunbo is a Yoruba term that literally means “second child,” but in the typicalwry humor that accompanies responses to bleak socioeconomic conditions inmost African countries, the term has come to stand for the vast secondhand marketin objects of Western technological products such as cars, computers, electronics,and assorted machines that have been reconditioned and made suitable for exportto Africa. The scale of the Tokunbo trade far outstrips that in new technologicalproducts and increasingly has come under state scrutiny for the effects on the environment,productivity, and safety.41. In fact it seems unimaginable that there could be any other reason for thisresponse to secondhand, recycled commodity-fetish products of the developed worldbeyond the survivalist strategies of people caught in the grips of brutal global economicrestructuring. It is also to such survivalist strategies that artists and intellectualshave turned in order to protect their autonomy as critical producers of culture.42. Kan Si, “Dimensons Variable,” 122.43. A number of the critiques that accompanied the reception of “Documenta11-Platform 5,” which devoted a strong part of the exhibition to exploring the relationshipbetween representation and the domain of social life, were based on abjuringthe political and ethical in the conception of the work of art. Typical of suchresponses were criticisms from neoconservative writers such as Michael Kimmelmanof the New York Times, Blake Gopnik of the Washington Post, and Christopher Knightof the Los Angeles Times.▲
FIGURE 9.1. A. Osmolovsky (concept), The Barricade: Devoted to the Events in Paris of 1968,action held on Bolshaya Nikitskaya Street, Moscow, May 23, 1998. Copyright A. Osmolovsky, 2004.Printed with permission. Participants included A. Osmolovsky, A. Ter-Oganyan, D. Pimenov,O. Kireev, K. Preobrazensky, D. Model.▲
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▲COLLECTIVISMAFTERMODERNISM
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COLLECTIVISM▲AFTERMODERNISMThe Ar
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TO LOUISE AND ARIANA
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CONTENTS6. The Mexican Pentagon 165
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AcknowledgmentsThis book would not
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PrefaceThe collectivization of arti
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FIGURE P.1. Promotional poster for
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Prefacexvdirectly opposite individu
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Prefacexviiadmit a desire to see al
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Introduction: Periodizing Collectiv
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Introduction 3to increase their pro
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Introduction 5Modernist artists und
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Introduction 7Those good intentions
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Introduction 9and that helped give
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Introduction 11collectivism brings
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Introduction 13artists on Chicago
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Introduction 15Phase of the Cultura
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1. Internationaleries: Collectivism
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Internationaleries 19played a “us
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Internationaleries 21Rooskens, Euge
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FIGURE 1.2. Le “Realisme-Socialis
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Internationaleries 25and an active
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Internationaleries 27create a democ
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Internationaleries 29of the fourth
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Internationaleries 31Debord’s 196
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Internationaleries 33in which the n
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Internationaleries 35be demystiWed
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Internationaleries 37printing a ser
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Internationaleries 39NOTES1. Harold
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Internationaleries 4136. The exhibi
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Internationaleries 4377. Michel de
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2. After the “Descent to the Ever
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After the “Descent to the Everyda
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3. Art & Language and the Instituti
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Art & Language and the Institutiona
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FIGURE 3.4. Cover of Blurting in A&
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4. The Collective Camcorder in Arta
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The Collective Camcorder in Art and
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5. Performing Revolution: Arte Call
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Performing Revolution 117developing
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Performing Revolution 119strictures
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Performing Revolution 121group, and
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Performing Revolution 123lies in Gr
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Performing Revolution 125problems i
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Performing Revolution 127Grupo Prov
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Performing Revolution 129from withi
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FIGURE 5.3. Art-De (Juan-Sí Gonzá
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Performing Revolution 133the museum
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Performing Revolution 135distribute
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Performing Revolution 137reason for
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Performing Revolution 139which cons
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Performing Revolution 141in which t
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Performing Revolution 143perhaps be
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Performing Revolution 145These priv
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Performing Revolution 1478. Gerardo
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Performing Revolution 14926. In 199
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Performing Revolution 151which appr
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Performing Revolution 153marginal z
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Performing Revolution 155boy in que
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Performing Revolution 157101. They
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Performing Revolution 159And I beli
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Performing Revolution 161structures
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6. The Mexican Pentagon: Adventures
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The Mexican Pentagon 167grupos (the
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The Mexican Pentagon 169It was agai
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The Mexican Pentagon 171Bellas Arte
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The Mexican Pentagon 1735 million i
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The Mexican Pentagon 175Wlled it wi
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The Mexican Pentagon 177Ehrenberg a
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The Mexican Pentagon 179of a campai
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The Mexican Pentagon 181(including
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The Mexican Pentagon 183contributed
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The Mexican Pentagon 185criticisms,
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The Mexican Pentagon 187material fo
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The Mexican Pentagon 18911. The gro
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7. Artists’ Collectives: Focus on
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Artists’ Collectives Mostly in Ne
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Page 220 and 221: Artists’ Collectives Mostly in Ne
Page 226 and 227: FIGURE 7.7. Doug Ashford of Group M
Page 228 and 229: FIGURE 7.9. General Idea, Baby Make
Page 242 and 243: 8. The Production of Social Space a
Page 244 and 245: The Production of Social Space as A
Page 256 and 257: FIGURE 8.3. Le Groupe Amos, Peuple
Page 272 and 273: 9. Beyond Representation andAfWliat
Page 274 and 275: Beyond Representation and AfWliatio
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Page 292 and 293: 10. Do-It-Yourself Geopolitics:Cart
Page 294 and 295: Do-It-Yourself Geopolitics 275produ
Page 296 and 297: Do-It-Yourself Geopolitics 277J18 o
Page 298 and 299: Do-It-Yourself Geopolitics 279and r
Page 300 and 301: Do-It-Yourself Geopolitics 281parad
Page 302 and 303: FIGURE 10.3. Detail of Bureau d’E
Page 304 and 305: Do-It-Yourself Geopolitics 285The c
Page 306 and 307: Do-It-Yourself Geopolitics 287etc.
Page 308 and 309: FIGURE 10.7. Poster for Euro Mayday
Page 310 and 311: Do-It-Yourself Geopolitics 291Weld
Page 312 and 313: Do-It-Yourself Geopolitics 293de pe
Page 314 and 315: ContributorsIrina Aristarkhova is a
Page 316 and 317: Contributors 297Reiko Tomii is an i
Page 318 and 319: IndexABC No Rio, 204, 219 n. 29abst
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Index 301Blanco, José Joaquín, 17
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Index 303Foster, Hal, 231, 249 n. 9
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Index 305Jack’s Society, 59Jacob,
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Index 307Moles, Abraham, 27Mondrian
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Index 309Psychophysiology Research
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Index 311Takis, 196, 197Taller Bori
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