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FIGURE 1.2. Le “Realisme-Socialiste” contre la revolution, 1950. Collection Stedelijk MuseumSchiedam, The Netherlands. Artist’s publication. No known copyright holder.
24 Jelena Stojanovićthe CoBrA IAE members drew heavily on his revision of Marxism and morespeciWcally on his concept of everydayness. Lefebvre’s Wrst version of the Critiqueof Everyday Life appeared in 1947 and offered a critical analysis of thedangers of techno-bureaucracy and modernization. He identiWed passivityand overwhelming boredom as a consequence of specialization and the increasingamount of leisure time that in turn made the critical analysis of realityproblematic and made creating the necessary tools of resistance extremelydifWcult. 35 In response, the CoBrA artists offered an oxymoronic product:the artist as a “professional amateur.” Through a combination of collectiveownership and active production this hybrid would, they believed, disruptthen obliterate normative, canonical modernist art making. In addition, themore they made their art temporal and ephemeral, the more commodiWcationwas resisted. Such collective, hybrid actions were always eclectic, oftenmixing together drawing, painting, poetry, sculpture, and decorative or appliedarts such as ceramics and tapestry as well as even free cinematic experimentations.These collaborative encounters between artists and nonprofessionalsalso blurred the lines of specialized distinctions, literally making others into“professional amateurs.” In addition, they also took total control of the receptionof their work by not allowing any curatorial or art-critical interference.CoBrA IAE carefully orchestrated a number of unconventionalexhibitions including the famous 1949 project at the Stedelijk Museum inAmsterdam 36 that powerfully mocked even the most unorthodox of surrealistinstallations. And contrary to surrealist happenings, they did not try to addressor remotely create any form of “modern marvelous” but, on the contrary,sought to establish a populist and festive occasion that took place within theeveryday “now.” The same irreverent, informal mode was also characteristic oftheir conferences. During the 1949 gathering in Bregneroed they collectivelyrepainted the interior of their meeting space, thus revealing the intrinsic logicof the “everyday” within common architecture while demonstrating one possibletactic of the grotesque. Many of these tactics reXected the teachings andwritings of Gaston Bachelard, 37 a French thinker of discontinuities and epistemologicalbreaks. Bachelard was in fact a philosopher of science and oneof the rare “thought professionals” the group invited to take an active partin the pages of their journal Cobra. Rejecting completely the established modernistmyth of an individualist creation ex nihilo, Bachelard argued insteadfor the importance of exchange and reuse and insisted that there are two typesof imagination: one visual, the other materialistic. For him, the importanceand power of the materialistic imagination, as opposed to the mechanical,repetitive tendency of the visual, was its ability to “reorder the world.” 38 Thiswas achieved by breaking down the existing order to build anew. Furthermore,his concept of materialistic imagination implied a careful examination of
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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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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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After the “Descent to the Everyda
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After the “Descent to the Everyda
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After the “Descent to the Everyda
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After the “Descent to the Everyda
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After the “Descent to the Everyda
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After the “Descent to the Everyda
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After the “Descent to the Everyda
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After the “Descent to the Everyda
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After the “Descent to the Everyda
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After the “Descent to the Everyda
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After the “Descent to the Everyda
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After the “Descent to the Everyda
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After the “Descent to the Everyda
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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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Art & Language and the Institutiona
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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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Art & Language and the Institutiona
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Art & Language and the Institutiona
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Art & Language and the Institutiona
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Art & Language and the Institutiona
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4. The Collective Camcorder in Arta
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The Collective Camcorder in Art and
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The Collective Camcorder in Art and
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The Collective Camcorder in Art and
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The Collective Camcorder in Art and
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The Collective Camcorder in Art and
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The Collective Camcorder in Art and
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The Collective Camcorder in Art and
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The Collective Camcorder in Art and
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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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Artists’ Collectives Mostly in Ne
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Artists’ Collectives Mostly in Ne
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Artists’ Collectives Mostly in Ne
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Artists’ Collectives Mostly in Ne
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Artists’ Collectives Mostly in Ne
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FIGURE 7.7. Doug Ashford of Group M
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FIGURE 7.9. General Idea, Baby Make
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Artists’ Collectives Mostly in Ne
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Artists’ Collectives Mostly in Ne
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Artists’ Collectives Mostly in Ne
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Artists’ Collectives Mostly in Ne
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Artists’ Collectives Mostly in Ne
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Artists’ Collectives Mostly in Ne
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8. The Production of Social Space a
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The Production of Social Space as A
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The Production of Social Space as A
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The Production of Social Space as A
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The Production of Social Space as A
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The Production of Social Space as A
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The Production of Social Space as A
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FIGURE 8.3. Le Groupe Amos, Peuple
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The Production of Social Space as A
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The Production of Social Space as A
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The Production of Social Space as A
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The Production of Social Space as A
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The Production of Social Space as A
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The Production of Social Space as A
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The Production of Social Space as A
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9. Beyond Representation andAfWliat
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Beyond Representation and AfWliatio
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Beyond Representation and AfWliatio
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Beyond Representation and AfWliatio
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Beyond Representation and AfWliatio
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Beyond Representation and AfWliatio
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Beyond Representation and AfWliatio
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Beyond Representation and AfWliatio
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Beyond Representation and AfWliatio
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10. Do-It-Yourself Geopolitics:Cart
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Do-It-Yourself Geopolitics 275produ
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Do-It-Yourself Geopolitics 277J18 o
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Do-It-Yourself Geopolitics 279and r
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Do-It-Yourself Geopolitics 281parad
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FIGURE 10.3. Detail of Bureau d’E
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Do-It-Yourself Geopolitics 285The c
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Do-It-Yourself Geopolitics 287etc.
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FIGURE 10.7. Poster for Euro Mayday
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Do-It-Yourself Geopolitics 291Weld
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Do-It-Yourself Geopolitics 293de pe
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ContributorsIrina Aristarkhova is a
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Contributors 297Reiko Tomii is an i
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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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