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ISTANBUL TECHNICAL UNIVERSITY ★ GRADUATE SCHOOL OF ARTS AND SOCIAL SCIENCES PARTICIPATION AND POWER AN OUTLINE OF CONTEMPORARY PARTICIPATORY ART M.A. THESIS Çiğdem ÇAĞLAYAN KOLAIN 402101003 Art History Department Art History Program Thesis Advisor: Dr. Aslıhan ERKMEN BİRKANDAN APRIL 2018 ii İSTANBUL TEKNİK ÜNİVERSİTESİ ★ SOSYAL BİLİMLER ENSTİTÜSÜ KATILIM VE GÜÇ ÇAĞDAŞ KATILIMCI SANATIN ANA HATLARI YÜKSEK LİSANS TEZİ Çiğdem ÇAĞLAYAN KOLAIN 402101003 Sanat Tarihi Anabilim Dalı Sanat Tarihi Programı Tez Danışmanı: Öğr. Gör. Dr. Aslıhan ERKMEN BİRKANDAN NİSAN 2018 iv İTÜ, Sosyal Bilimler Enstitüsü’nün 402101003 numaralı Yüksek Lisans Öğrencisi Çiğdem ÇAĞLAYAN KOLAIN, ilgili yönetmeliklerin belirlediği gerekli tüm şartları yerine getirdikten sonra hazırladığı “PARTICIPATION AND POWER AND OUTLINE OF CONTEMPORARY PARTICIPATORY ART” başlıklı tezini aşağıda imzaları olan jüri önünde başarı ile sunmuştur. Tez Danışmanı : Öğr. Gör. Dr. Aslıhan ERKMEN BİRKANDAN .................... İstanbul Teknik Üniversitesi İstanbul Teknik Üniversitesi Jüri Üyeleri : Doç. Dr. Ebru YETİŞKİN ....................... İstanbul Teknik Üniversitesi Doç. Dr. Burcu PELVANOĞLU ....................... Mimar Sinan Güzel Sanatlar Üniversitesi Savunma Tarihi : 21 Mart 2018 Teslim Tarihi : 26 Şubat 2018 v vi FOREWORD I sincerely thank to my thesis supervisor Aslıhan Erkmen Birkandan for guiding me throughout my scientific research process. Without her guidance and feedback, this thesis would not have been completed as is now. I also would like to thank to my thesis committee Ebru Yetişkin and Burcu Pelvanoğlu for their time and advices, also to my lecturers Deniz Çalışır Pençe and Enis Ali Yurtsever for the helpful lessons I have taken along this journey. I am also thankful to Gizem Mater and Verda Bingöl for their friendly collaboration and assistance. I thank to my friend Kevser Güler who supported me for deciding my thesis subject and sharing her books, to Johannes Wagner who read my thesis, commented on it and motivated me, to Ercan Karasu for his help and kindness. Finally, I am deeply thankful to my family for their constant patience. And I am heartily grateful to Michael Kolain for his endless support while I was preparing this thesis. Without his encouragement this thesis would not have been possible. April 2018 Çiğdem Çağlayan Kolain Art Historian vii viii TABLE OF CONTENTS Page FOREWORD ............................................................................................................ vii TABLE OF CONTENTS .......................................................................................... ix LIST OF TABLES ................................................................................................... xv LIST OF FIGURES ............................................................................................... xvii ÖZET ........................................................................................................................ xix SUMMARY ........................................................................................................... xxiii 1. INTRODUCTION .................................................................................................. 1 1.1 Aims and Scope ................................................................................................. 4 1.2 Methodology ...................................................................................................... 5 2. DEVELOPMENT OF PARTICIPATORY ART ................................................ 7 2.1 Tracing the Origins of Participatory Art ........................................................... 7 2.2 During World War I and the Interbellum ........................................................ 12 2.2.1 Futurism and Futurist Theatre ................................................................ 12 2.2.2 Dadism ................................................................................................... 15 2.2.3 Constructivisim ...................................................................................... 17 2.2.4 Kinetic Art .............................................................................................. 21 2.3 Aftermath of World War II and Open Work ................................................... 24 2.4 The Participatory Paradigm of the 1960s ........................................................ 26 2.4.1 Happenings ............................................................................................. 29 2.4.2 Fluxus ..................................................................................................... 31 2.4.3 Situationism ........................................................................................... 35 2.5 The Period of 1980s & 1990s ......................................................................... 38 2.6 The Twenty-First Century…………………………………………...……….40 2.6.1 Theoretical Substantiation into the Twenty-First Century ..................... 45 2.6.1.1 Claire Bishop .............................................................................. 46 2.6.1.2 Jacques Rancière ........................................................................ 50 2.6.1.3 Nicolas Bourriaud ...................................................................... 51 2.6.1.4 Discussion .................................................................................. 54 3. OUTLINING PARTICIPATORY ART ............................................................ 57 3.1 Participatory Art in context ............................................................................. 57 3.1.1 Historical context ................................................................................... 57 3.1.2 Historical classifications in contemporary art ........................................ 59 3.1.2.1 Relational Aesthetics: Nicolas Bourriaud .................................. 59 3.1.2.2 Participation in art and social practice: Claire Bishop ............... 62 3.1.2.3 Summary .................................................................................... 63 ix 3.1.3 Participation in art and politics ............................................................... 64 3.1.3.1 Participation and democracy ...................................................... 64 3.1.3.2 Contrasts between participation in art and politics .................... 65 3.2 Towards a Theoretical Framework of Participatory Art ................................. 66 3.2.1 What is art? ............................................................................................. 67 3.2.2 What makes an artwork participatory? ................................................... 69 3.2.2.1 Identity ...................................................................................... 70 3.2.2.2 Open Form................................................................................. 71 3.2.2.3 Power Structure ......................................................................... 72 3.2.2.4 Social Impact ............................................................................. 74 3.2.3 Summary ................................................................................................ 75 3.3 A Theoretical Framework for the Analysis of Participatory Art .................... 78 3.3.1 Identities ................................................................................................. 80 3.3.1.1 What are Identities? .................................................................... 80 3.3.1.2 Analysis of Identities .................................................................. 81 3.3.2 Open Form .............................................................................................. 82 3.3.2.1 What is Open Form? .................................................................. 82 3.3.2.2 Art historical perspective ........................................................... 82 3.3.2.3 Analysis of Open Form .............................................................. 84 3.3.3 Power Structure ...................................................................................... 85 3.3.3.1 What is Power Structure? ........................................................... 85 3.3.3.2 Art historical perspective ........................................................... 86 3.3.3.3 Analysis of Power Structure ....................................................... 87 3.3.4 Social Impact .......................................................................................... 88 3.3.4.1 What is Social Impact? ............................................................... 88 3.3.4.2 Art historical perspective ........................................................... 88 3.3.4.3 Analysis of Social Impact .......................................................... 89 4. CASE STUDIES ................................................................................................... 91 4.1 Ahmet Öğüt: The Silent University ................................................................ 94 4.1.1 Identities ................................................................................................. 94 4.1.1.1 Identity of the artist .................................................................... 94 4.1.1.2 Identities of the participants ....................................................... 95 4.1.1.3 Identities of the spectators .......................................................... 96 4.1.1.4 Group identity ...........................................................................
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