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Art and Social Change a Critical Reader

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Art and Social Change a Critical Reader ART AND SOCIAL CHANGE A CRITICAL READER EDITED BY WILL BRADLEY AND CHARLES ESCHE TATE PUBLISHING IN ASSOCIATION WITH AFTERALL First published 2007 by order of the Tate Trustees by Tate Publishing, a division of Tate Enterprises Ltd Millbank, London sw1p 4rg www.tate.org.uk/publishing In association with Afterall Central Saint Martins College of Art & Design, University of the Arts London 107–109 Charing Cross Road London wc2h 0du Copyright © Tate, Afterall 2007 Individual contributions © the authors 2007 unless otherwise specified Artworks © the artists or their estates unless otherwise specified All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978-1-85437-626-8 Distributed in the United States and Canada by Harry N. Abrams Inc., New York Library of Congress Cataloging in Publication Data Library of Congress Control Number: 2007934790 Designed by Kaisa Lassinaro, Sara De Bondt Printed by Graphicom SPA, Italy CONTENTS 99 Deutschland Deutschland Über Alles Kurt Tucholsky and John Heartfield Preface [7] Charles Esche 104 Bauhaus no.3, The Students Voice Kostufra Introduction [9] Will Bradley 106 The Fall of Hannes Meyer Kostufra Colour plates [25] 108 Letter, August 1936 PART I – 1871 Felicia Browne 36 Letters, October 1870–April 1871 110 We Ask Your Attention Gustave Courbet British Surrealist Group 29 October 1870 18 March 1871 115 Vision in Motion 7 April 1871 László Moholy-Nagy 30 April 1871 PART III – 1968 40 Socialism from the Root Up William Morris and E. Belfort Bax 121 Theses on the Paris Commune Situationist International 47 The Socialist Ideal: Art (Guy Debord, Attila Kotányi, William Morris Raoul Vaneigem) 57 The War in Paterson 125 Response to a Questionnaire John Reed from the Center for Socio-Experimental Art PART II – 1917 Situationist International (J.V. Martin, Jan Strijbosch, 61 En Avant DADA: Raoul Vaneigem, René Viénet) A History of Dadaism Richard Huelsenbeck 130 Statement Black Mask 68 Programme Declaration Komfut 132 Art and Revolution Black Mask 69 A General Theory of Constructivism Varvara Stepanova 134 We Propose a Cultural Exchange Black Mask 74 Art and Propaganda William Pickens 137 Psychedelic Manifesto Sture Johannesson 76 The End of Art Theo Van Doesburg 141 Hopes for Great Happenings Albert Hunt 78 Art and Reality Mieczysław Szczuka 143 Guerrilla Theatre Ronald G. Davis 86 Draft Manifesto The John Reed Club of New York 146 Trip Without a Ticket The San Francisco Diggers 91 Open the Prisons! Disband the Army! 152 The Post-Competitive, The Surrealist Group Comparative Game of a Free City The San Francisco Diggers 92 Revolution Now and Forever! The Surrealist Group 157 ‘Experience 68’ The Avant-Garde Artists Group 94 Cannibalist Manifesto Oswald De Andrade 161 Tucumán Arde The Avant-Garde Artists Group 164 Posters from the Revolution, 216 For Self-Management Art Paris, May 1968 Zoran Popovi´c Atelier Populaire 219 The Sword is Mightier 166 Position Paper no.1: than the Swede? On Revolutionary Art Sture Johannesson Emory Douglas 227 Position Paper: Crossroads 171 Art for the Peoples Sake Community (The Farm) Emory Douglas Bonnie Sherk 174 Letter, April 1968 230 Art Hysterical Notions Hans Haacke of Progress and Culture Valerie Jaudon and Joyce Kozloff 175 Manifesto for the Guerrilla Art Action Group 241 Ideology, Confrontation Guerrilla Art Action Group and Political Self-Awareness Adrian Piper 178 A Call for the Immediate Resignation of All the Rockefellers from 245 The Docklands Photo-Murals the Board of Trustees of Peter Dunn and Lorraine Leeson the Museum of Modern Art Guerrilla Art Action Group 249 Dispatches from an Unofficial War Artist 180 Letter to Richard M. Nixon Peter Kennard Guerrilla Art Action Group 251 Ten Items of the Covenant 181 Insertions into Ideological Circuits, Laibach 1970–75 Cildo Meireles 255 Flyer for the Rev-Revue of Soc-Fashion 188 Radical Software, vol.1 no.1, Orange Alternative The Alternate Television Movement Phyllis Gershuny and Beryl Korot 257 Operating Manual for Leszek MAJ Orange Alternative 190 The Videosphere Gene Youngblood PART IV – 1989 191 Cybernetic Guerrilla Warfare 260 Geometric Retroabstraction Paul Ryan Desiderio Navarro 196 Proclamation of the Orange 271 The Border Art Workshop/ Free State Taller De Arte Fronterizo The Kabouters Guillermo Gomez-Pena and Emily Hicks 200 Call to the Artists of Latin America Interviewed by Coco Fusco 202 Womens Art: A Manifesto 277 A Presentation VALIE EXPORT Gran Fury (Tom Kalin, Michael Nesline 204 Notes on Street Art by the Brigadas And John Lindell) Ramona Parra ‘Mone’ Gonzàlez 283 Rebellion on Level p Christoph Schäfer and Cathy Skene 206 Resolutions of the Third World with the Hafenrandverein Filmmakers Meeting In Algiers 290 Popotla 211 Press Release, September 1976 RevArte Solvognen 293 Statement by the Feminist Artist 213 Invisible Theatre Collective Ip Gim Augusto Boal Art and Social Change 297 How To? Tiqqun 313 Politicising Sadness Colectivo Situaciones 319 Mayan Technologies and the Theory of Electronic Civil Disobedience Ricardo Dominguez Interviewed by Benjamin Shepard and Stephen Duncombe 332 The Articulation of Protest Hito Steyerl 340 A Concise Lexicon of/for the Digital Commons Raqs Media Collective 350 The Revenge of the Concept: Artistic Exchanges, Networked Resistance Brian Holmes 369 Drifting Producers Yongseok Jeon 378 There is no alternative: THE FUTURE IS SELF-ORGANISED Stephan Dillemuth, Anthony Davies And Jakob Jakobsen PART V – Commissioned Essays 384 The Many ANDs of Art and Revolution Gerald Raunig 395 Rebuilding the Art of the People John Milner 408 Time Capsule Lucy R. Lippard 422 Secular Artist, Citizen Artist Geeta Kapur About the authors [462] 440 Selling the Air: Notes on Art and the About the editors [463] Desire for Social Change in Tehran Tirdad Zolghadr Notes [464] 447 Line Describing A Curb Bibliography [474] Asymptotes about VALIE EXPORT, the New Urbanism and Index [478] Contemporary Art Marina Vishmidt Acknowledgements [479] Contents PREFACE CHARLES ESCHE H\YfYWYbhYldUbg]cbcZAfterall^cifbU` ZfcadiV`]WUh]cbcZ]hgÂfgh ]ggiYVm7YbhfU`GU]bhAUfh]bg]b%--,hch\YfYgYUfW\UbXdfcXiWh]cbcZ]hg UWWcadUbm]b[gYf]YgcZVcc_g \UgU``ckYXighcVY[]bibdUW_]b[dUfh]Wi`Uf XYjY`cdaYbhg]bWcbhYadcfUfmUfh]bWc``UVcfUh]cbk]h\UbiaVYfcZbYk dUfhbYfg"H\Y^cifbU`\UgVYYbWc!diV`]g\YXVm7U`]Zcfb]U=bgh]hihYcZh\Y 5fhgg]bWY&$$& UbXcifYX]hcf]U`dUfhbYfg\]dbckYlhYbXghcai\_U]b 5bhkYfd"CifÂfghfYUXYf East Art Map: Contemporary Art and Eastern Europe kUgUWc``UVcfUh]cbk]h\h\YUfh]ghgº[fcid]fk]bUbXVfci[\hhc[Yh\Yf Zcfh\YÂfghh]aYhYlhgUVcihh\YWcbhYadcfUfmUfhg]hiUh]cb]bU`acghU`` 9ifcdYUbdcgh!Wcaaib]ghghUhYg UgkY``UgbYkYggUmgcbgdYW]ÂWUfh]ghg cfUgdYWhgcZh\YfY[]cb" Art and Social Change]gdfcXiWYX]bWc``UVcfUh]cbk]h\HUhYDiV`]g\]b[" 9X]hYXVmK]``6fUX`YmUbXamgY`Z ]hhU_Ygh\YW`U]agcZkY``!_bckbUbX acfYcVgWifYfYjc`ih]cbUfmUfhdfUWh]WYgUbX\c`Xgh\Yaidhch\Y`][\h cZhcXUm"H\YVi`_cZh\YVcc_[Uh\YfgUb]bhYfbUh]cbU`gY`YWh]cbcZUfh]ghgº dfcdcgU`g aUb]ZYghcg h\YcfYh]WU`hYlhgUbXdiV`]WXYW`UfUh]cbgh\UhkY \cdYk]``VYcZjU`iYVch\hch\YghiXYbhcZUfhUbXhch\Y[YbYfU`fYUXYf k]h\Ub]bhYfYgh]bh\]gdUfh]Wi`UfZUWYhcZh\YfY`Uh]cbg\]dVYhkYYbUfh dc`]h]WgUbXUWh]j]ga" H\YUddfcUW\YgfYdfYgYbhYXUfYaUbmUbXX]jYfgY"H\YmfUb[YZfca h\YgcW]U`]ghUfhh\YcfmcZK]``]UaAcff]ghch\Y\mVf]XUWh]j]ghdfUWh]WY UggcW]UhYXk]h\h\YhkYbhm!ÂfghWYbhifm¹acjYaYbhcZacjYaYbhgº/ Zfcah\YacXYfb]ghUjUbh![UfXYgUbXh\Y]f]XYUgcZdc`]h]WU`Wcaa]haYbh hch\cgYacjYaYbhgh\UhXYÂb]h]jY`mfY^YWhYXUfh]gh]WacXYfb]ga]bZUjcif cZdfchYgh Wf]h]eiY ihcd]UbgcW]U`YldYf]aYbhcffYjc`ih]cbUfmdfcdU[UbXU" GcaYcZh\YhYlhgUggYaV`YX\YfYUfYkY``!_bckbk]h\]bh\YÂY`X cZUfh\]ghcfmcfUfYUjU]`UV`YZfcagYjYfU`gcifWYg k\]`Ych\YfgaUm\UjY cf][]bU``mYb^cmYXcb`m`]a]hYXX]ghf]Vih]cbcfUfYWiffYbh`mX]ZÂWi`hhcÂbX/ gcaYUfYdfYgYbhYX]b9b[`]g\hfUbg`Uh]cbZcfh\YÂfghh]aY"G]lYgdYW]U``m Wcaa]gg]cbYXYggUmgµVm;YYhU?Udif @iWm@]ddUfX >c\bA]`bYf ;YfU`XFUib][ AUf]bUJ]g\a]XhUbXH]fXUXNc`[\UXfµZifh\YfYld`cfY Vch\h\Y\]ghcf]WU`WcbhYlhUbXh\YWcbhYadcfUfmg]hiUh]cb" 7 KY\UjYgci[\hhcVYVfcUX]bcif[Yc[fUd\]WUbXdc`]h]WU`UddfcUW\ fY`m]b[cbh\YYldfYggYX]bhYbh]cbcZh\YUfh]ghgghUhYX]bh\Y]fckbkcfXg hc[i]XYcifgY`YWh]cb"KY\UjY[YbYfU``mVYYb]bhYfYghYX]bUfh]ghgh\Uh \UjYgi[[YghYXcfYjYb[YbYfUhYXU`hYfbUh]jYgcW]U`acXY`gh\fci[\ h\YdfcXiWh]cbcZh\Y]fUfh"CZhYbh\]g\UgVYYbXcbY]bcddcg]h]cbhc [cjYfbaYbhUbXWcfdcfUhYdc`]W]Yg"5hacaYbhgcZfYjc`ih]cbUfmgiWWYgg \ckYjYf h\YfY]gUgiVh`YY`]g]cbVYhkYYb]bg]XYUbXcihg]XYdcg]h]cbgh\Uh \UgdfcXiWYXgcaYcZh\YacghdckYfZi`kcf_YZZYWh]b[gcW]U`W\Ub[Y"H\]g fYUXYfWcaV]bYgVch\dcgg]V]`]h]Yg]b]hggY`YWh]cb ZUjcif]b[h\cgYdfcdcgU`g h\Uh\UjYgci[\hhcYb`Uf[YcffY`cWUhYh\YncbYcZUfh]hgY`Z Vm]bhfcXiW]b[ bYkaUhYf]U`dcgg]V]`]h]YgUbXVmfY^YWh]b[h\YUfhkcf`Xºg]bgh]hih]cbU` ghfiWhifYgUbXgYY_]b[h\Y]fckb"5gk]h\h\YEast Art MapfYUXYf h\YbYk`m Wcaa]gg]cbYXhYlhgVf]b[h\YeiYgh]cbgcZUbUfh]ghºgWcbhYadcfUfmcdh]cbg UbXfYgdcbg]V]`]h]Yghch\YZcfY UgkY``Ugj]g]h]b[h\Yg]hiUh]cbcZgcW]U``m Yb[U[YXUfh]b=bX]UUbX=fUb" KYXcbchUhhYadhhcgi[[YghUib]ÂYXh\YcfYh]WU`YZZcfhUhkcf_" H\YhYlhgdfYgYbhYX\YfYcZZYfX]jYfgY]XYc`c[]WU`dcg]h]cbgUbX`YjY`g cZYb[U[YaYbh UbXkYfYdfcXiWYX]bk]XY`mX]ZZYf]b[g]hiUh]cbgUbXZcf UjUf]YhmcZYbXg/gcaYUfYh\YcfYh]WU` gcaYf\Yhcf]WU` ch\YfgdfU[aUh]Wcf WU`Wi`UhYX`mdfcdU[UbX]gh"CifdifdcgY]ghcg_YhW\UdUfU``Y`\]ghcfmk\]W\ k\]`YW`cgY`m`]b_YXhch\YUWWYdhYXbUffUh]jYgcZh\Y\]ghcfmcZacXYfbUfh
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