In the work “Artificial Hells,” the author provides a comprehensive historical and theoretical examination of socially engaged participatory art. Over recent decades, there has been a notable shift towards participatory art within the confines of art galleries and museums, where audiences are invited to actively engage with the artwork. This phenomenon has been lauded as a potentially transformative practice capable of fostering new emancipatory social dynamics.
Claire Bishop traces the evolution of participatory aesthetics throughout the twentieth century, highlighting pivotal moments in its development. This journey encompasses movements such as Futurism and Dada, the Situationist International, Happenings across Eastern Europe, Argentina, and Paris, as well as the Community Arts Movement of the 1970s and initiatives like the Artists Placement Group. The discussion extends to contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawel Althamer, and Paul Chan, who have undertaken long-term educational projects.
Bishop critically assesses both the political and aesthetic aspirations associated with participatory art. While acknowledging the emancipatory claims, she also presents an alternative perspective to the primarily ethical considerations often invoked by such artworks. In “Artificial Hells,” there is a call for a more open-ended approach to art and politics, advocating for participatory art and criticism that embrace complexity, challenge conventional norms, and provoke deeper engagement.