This is the Chinese translation of art historian and critic Claire Bishop's book on the heated debate on participatory art's role in the contemporary art world, originally published in 2012. Theorising the aesthetic, political and ethical dimensions of the proliferation of socially engaged art from the 1990s, Bishop reviews the history of this art as promoted by curators and theorists.

'Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Paweł Althamer and Paul Chan.
Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.'  from back cover of the English version



「自從1990年代以來,評論家和策展人大抵上都認為,參與式藝術究其極是個政治藝術:他們鼓勵觀眾和藝術家合作,而促進新的解放式社會關係。在世界各地,這種表現形式的捍衛者不可勝數,從諸如格蘭.凱斯特之流的史學家、布西歐和納托.湯普生(Nato Thompson)之類的策展人,到諸如夏儂.傑克森(Shannon Jackson)的展演理論家。《人造地獄》是關於社會投入的參與式藝術的第一部歷史性和理論性概述,在美國稱為社會實踐。克萊兒.畢莎普探索二十世紀的藝術軌跡,檢視參與式美學發展中的各個關鍵時期。這個旅程遍歷了未來主義和達達派;情境主義國際;東歐、阿根廷和巴黎的偶發藝術;1970年代的社區藝術運動;以及藝術家安置團體。它以當代藝術家倡議的長期性教育計畫作結,例如赫胥宏、布魯格拉、阿塔莫和陳佩之。」—節錄自揭頁

Alternative title

Ren zao di yu: can yu shi yi shu yu guan kan zhe zheng zhi xue

Access level

Onsite

author
practitioner
Location code
REF.BIC2
Language

Chinese - Traditional

Publication/Creation date

2015

No of pages

493

ISBN / ISSN

9789866049934

No of copies

1

Content type

monograph, 

translated text

Chapter headings

緒論

社會轉向: 協作及其不滿

人造地獄: 歷史前衛主義

我參與, 你參與, 他參與......

直言不諱的社會虐待狂

社會主義底下的社會

意外的訪客: 藝術家安置團體和社區藝術

以前的西方世界: 1990年代初期作為計畫的藝術

代理式展演: 將真實性外包

教學性計畫: 「你如何將教室帶到生活裡, 宛如它是個藝術品?」

結論

Artificial Hells: Participatory Art and the Politics of Spectatorship
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Artificial Hells: Participatory Art and the Politics of Spectatorship, 人造地獄: 參與式藝術與觀看者政治學