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Internationaleries 25and an active rethinking about the relationship of man-made objects withnature. Bachelard’s work on imagination, in addition to Lefebvre’s criticalwritings on space, provided CoBrA’s experimental starting point and providedthe group with a highly speciWc tool useful against all sorts of idealizations,generalizations, and ideological recuperation.The CoBrA IAE experimentation also included an active, collectiveconcern with the education of artists. For example, they proposedthat art was a total, collective act and art pedagogy was an exchange amongequals rather than a dynamic based on hierarchies of power. Another intrinsicand crucial part of their activity was publishing. Much of this took placein the “Cobra House” located in an abandoned house in the Atelier duMarais in Brussels where the group’s printing press was located. It was herethe members collaborated on a variety of experimental publishing projectsincluding their journal Cobra: An Organ of the International of ExperimentalArtists as well as Le Petit Cobra, a more spontaneous publication that servedto record the collective’s key events, dates, and so forth. There was in additiona third organ called Le Tout Petit Cobra used to swiftly summarize groupactivities. Given the difWcult economic circumstances in Europe during thelate 1940s these publications were among their most important achievements.Considered together, the three collaborative journals, the group’sresearch on existing and extinct folk traditions, their organization of numerousfestivals and exhibitions, and the series of printed monographs knownas the Cobra Encyclopaedie continue to demonstrate the signiWcance ofCoBrA IAE for the study and elaboration of visual culture and art history.The 1950s were a particularly tense moment in the cold war. Itwas also at this juncture that the book Kalte Kunst, or “Cold Art,” by KarlGerstner, was published. Its title almost served as a homogenizing metaphorfor the dominant functionalist rhetoric of the times. 39 Without any irony theauthor advocated a speciWc form of geometric, highly rationalized, and monolithicart making based on avant-garde constructivist-like forms, mathematicalformula, and arithmetical color progressions as the progressive artisticform of the twentieth century. Yet the inconsistencies inherent in the functionalistapproach so forcefully critiqued by the internationaleries are actuallymade apparent as the author rejects the role of the imagination preferringinstead a modular regulation of artistic form. Nevertheless, the rhetoric ofKalte Kunst proved extremely popular among artists especially those in theSoviet Union, Eastern Europe, and Latin America with some of these ideasreXected in the large number of groups who shared a similar belief in thecreation of systemic art including kinetic, op, or minimal art, and visual orconcrete poetry. Often these artists couched their aesthetic ideology, as wellas their obvious gloriWcation of functionalism, in an outspoken desire to
FIGURE 1.3. Back cover of Cobra, no. 10 (Fall 1951). Collection Stedelijk Museum Schiedam,The Netherlands. Photograph by Bob Goedewaagen, Rotterdam. A coiled cobra, a mystical beast anda prominent symbol in many ancient genesis myths, was the group’s trademark. Homogenizing thegroup’s acronym into one signiWer clearly encapsulates their rhetoric of a third force and a desire tosituate their international collective experimentation outside the dominant cold war discursive modesbased on modernization and progress.
Page 2 and 3: ▲COLLECTIVISMAFTERMODERNISM
Page 4 and 5: COLLECTIVISM▲AFTERMODERNISMThe Ar
Page 6 and 7: TO LOUISE AND ARIANA
Page 8 and 9: CONTENTS6. The Mexican Pentagon 165
Page 10 and 11: AcknowledgmentsThis book would not
Page 12 and 13: PrefaceThe collectivization of arti
Page 14 and 15: FIGURE P.1. Promotional poster for
Page 16 and 17: Prefacexvdirectly opposite individu
Page 18 and 19: Prefacexviiadmit a desire to see al
Page 20 and 21: Introduction: Periodizing Collectiv
Page 22 and 23: Introduction 3to increase their pro
Page 24 and 25: Introduction 5Modernist artists und
Page 26 and 27: Introduction 7Those good intentions
Page 28 and 29: Introduction 9and that helped give
Page 30 and 31: Introduction 11collectivism brings
Page 32 and 33: Introduction 13artists on Chicago
Page 34 and 35: Introduction 15Phase of the Cultura
Page 36 and 37: 1. Internationaleries: Collectivism
Page 38 and 39: Internationaleries 19played a “us
Page 40 and 41: Internationaleries 21Rooskens, Euge
Page 42 and 43: FIGURE 1.2. Le “Realisme-Socialis
Page 46 and 47: Internationaleries 27create a democ
Page 48 and 49: Internationaleries 29of the fourth
Page 50 and 51: Internationaleries 31Debord’s 196
Page 52 and 53: Internationaleries 33in which the n
Page 54 and 55: Internationaleries 35be demystiWed
Page 56 and 57: Internationaleries 37printing a ser
Page 58 and 59: Internationaleries 39NOTES1. Harold
Page 60 and 61: Internationaleries 4136. The exhibi
Page 62 and 63: Internationaleries 4377. Michel de
Page 64 and 65: 2. After the “Descent to the Ever
Page 66 and 67: After the “Descent to the Everyda
Page 94 and 95:
After the “Descent to the Everyda
Page 96 and 97:
3. Art & Language and the Instituti
Page 98 and 99:
Art & Language and the Institutiona
Page 100 and 101:
Page 102 and 103:
Page 104 and 105:
FIGURE 3.4. Cover of Blurting in A&
Page 106 and 107:
Page 108 and 109:
Page 110 and 111:
Page 112 and 113:
Page 114 and 115:
4. The Collective Camcorder in Arta
Page 116 and 117:
The Collective Camcorder in Art and
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Page 120 and 121:
Page 122 and 123:
Page 124 and 125:
Page 126 and 127:
Page 128 and 129:
Page 130 and 131:
Page 132 and 133:
Page 134 and 135:
5. Performing Revolution: Arte Call
Page 136 and 137:
Performing Revolution 117developing
Page 138 and 139:
Performing Revolution 119strictures
Page 140 and 141:
Performing Revolution 121group, and
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Performing Revolution 123lies in Gr
Page 144 and 145:
Performing Revolution 125problems i
Page 146 and 147:
Performing Revolution 127Grupo Prov
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Performing Revolution 129from withi
Page 150 and 151:
FIGURE 5.3. Art-De (Juan-Sí Gonzá
Page 152 and 153:
Performing Revolution 133the museum
Page 154 and 155:
Performing Revolution 135distribute
Page 156 and 157:
Performing Revolution 137reason for
Page 158 and 159:
Performing Revolution 139which cons
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Performing Revolution 141in which t
Page 162 and 163:
Performing Revolution 143perhaps be
Page 164 and 165:
Performing Revolution 145These priv
Page 166 and 167:
Performing Revolution 1478. Gerardo
Page 168 and 169:
Performing Revolution 14926. In 199
Page 170 and 171:
Performing Revolution 151which appr
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Performing Revolution 153marginal z
Page 174 and 175:
Performing Revolution 155boy in que
Page 176 and 177:
Performing Revolution 157101. They
Page 178 and 179:
Performing Revolution 159And I beli
Page 180 and 181:
Performing Revolution 161structures
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Page 184 and 185:
6. The Mexican Pentagon: Adventures
Page 186 and 187:
The Mexican Pentagon 167grupos (the
Page 188 and 189:
The Mexican Pentagon 169It was agai
Page 190 and 191:
The Mexican Pentagon 171Bellas Arte
Page 192 and 193:
The Mexican Pentagon 1735 million i
Page 194 and 195:
The Mexican Pentagon 175Wlled it wi
Page 196 and 197:
The Mexican Pentagon 177Ehrenberg a
Page 198 and 199:
The Mexican Pentagon 179of a campai
Page 200 and 201:
The Mexican Pentagon 181(including
Page 202 and 203:
The Mexican Pentagon 183contributed
Page 204 and 205:
The Mexican Pentagon 185criticisms,
Page 206 and 207:
The Mexican Pentagon 187material fo
Page 208 and 209:
The Mexican Pentagon 18911. The gro
Page 210 and 211:
Page 212 and 213:
7. Artists’ Collectives: Focus on
Page 214 and 215:
Artists’ Collectives Mostly in Ne
Page 216 and 217:
Page 218 and 219:
Page 220 and 221:
Page 222 and 223:
Page 224 and 225:
Page 226 and 227:
FIGURE 7.7. Doug Ashford of Group M
Page 228 and 229:
FIGURE 7.9. General Idea, Baby Make
Page 230 and 231:
Page 232 and 233:
Page 234 and 235:
Page 236 and 237:
Page 238 and 239:
Page 240 and 241:
Page 242 and 243:
8. The Production of Social Space a
Page 244 and 245:
The Production of Social Space as A
Page 246 and 247:
Page 248 and 249:
Page 250 and 251:
Page 252 and 253:
Page 254 and 255:
Page 256 and 257:
FIGURE 8.3. Le Groupe Amos, Peuple
Page 258 and 259:
Page 260 and 261:
Page 262 and 263:
Page 264 and 265:
Page 266 and 267:
Page 268 and 269:
Page 270 and 271:
Page 272 and 273:
9. Beyond Representation andAfWliat
Page 274 and 275:
Beyond Representation and AfWliatio
Page 276 and 277:
Page 278 and 279:
Page 280 and 281:
Page 282 and 283:
Page 284 and 285:
Page 286 and 287:
Page 288 and 289:
Page 290 and 291:
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
Page 320 and 321:
Index 301Blanco, José Joaquín, 17
Page 322 and 323:
Index 303Foster, Hal, 231, 249 n. 9
Page 324 and 325:
Index 305Jack’s Society, 59Jacob,
Page 326 and 327:
Index 307Moles, Abraham, 27Mondrian
Page 328 and 329:
Index 309Psychophysiology Research
Page 330 and 331:
Index 311Takis, 196, 197Taller Bori
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