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Publish: 典藏

artificial hell

artificial hell

MOP$193.00
MOP$193.00
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Planned by artists and coordinated by the masses Human beings' alternative confrontation with social systems and existential circumstances A special approach that must be deeply examined

Participatory art conveys all kinds of paradoxes suppressed in daily life to participants and viewers,
and induce perverted, unsettling, pleasurable experiences,
Allows us to reimagine the world and our relationships.

It is both an event in the world and also out of the world.

Since the 1990s, critics and curators have largely agreed that participatory art is ultimately political art: they encourage collaboration between viewers and artists and promote new liberated social relationships. Around the world, defenders of this form of expression are numerous, ranging from the likes of Glenn Kester and his like historians, Busio and Nato. From curators like Nato Thompson to Shannon. Shannon Jackson's performance theorist.

Artificial Hell is the first historical and theoretical overview of socially engaged participatory art, known in the United States as "social practice." Claire. Bishop explores the trajectory of art in the twentieth century, examining key periods in the development of participatory aesthetics. The journey traversed Futurism and Dada; Situationist International; Happenings in Eastern Europe, Argentina, and Paris; the community art movement of the 1970s; and artist placement groups. It concludes with a long-term sex education program initiated by contemporary artists such as Huxhorn, Bruguera, Atamo and Chen Peizhi.

Since her controversial essay in Artforum in 2006, Bishop has been among the few who have dared to challenge the political and aesthetic ambitions of participatory art. In Artificial Hell, she not only scrutinizes the liberating claims of these projects, she also proposes alternatives to the ethical (rather than aesthetic) judgments these works of art invoke. Artificial Hell calls for a less prescriptive approach to art and politics, proposing a more engaging, disturbing, and bold form of participatory art and commentary.

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