{"id":23428,"date":"2023-06-25T11:17:58","date_gmt":"2023-06-25T10:17:58","guid":{"rendered":"https:\/\/hangar.com.pt\/?p=23428"},"modified":"2023-07-10T14:46:44","modified_gmt":"2023-07-10T13:46:44","slug":"talk-participation-after-artificial-hells","status":"publish","type":"post","link":"https:\/\/hangar.com.pt\/en\/talk-participation-after-artificial-hells\/","title":{"rendered":"TALK &#8211; Participation after Artificial Hells"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_empty_space height=&#8221;5px&#8221;][vc_separator color=&#8221;black&#8221;][\/vc_column][\/vc_row][vc_row][vc_column width=&#8221;1\/2&#8243;][vc_column_text]<\/p>\n<p dir=\"auto\"><strong>Participation after Artificial Hells<\/strong><\/p>\n<p dir=\"auto\">12th July, 2023 &#8211; 7pm<\/p>\n<p dir=\"auto\">\u200c<\/p>\n<p dir=\"auto\">Conversation with Claire Bishop<\/p>\n<p dir=\"auto\">Moderated by Nithya Iyer<\/p>\n<p dir=\"auto\">Free entry*<\/p>\n<p>[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;23429&#8243; img_size=&#8221;full&#8221;][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=&#8221;Synopsis&#8221; font_container=&#8221;tag:h4|text_align:left&#8221; use_theme_fonts=&#8221;yes&#8221;][vc_separator][vc_column_text]Claire Bishop published Artificial Hells, a history and theory of participatory art, in 2012. Reflecting on what has happened to participatory strategies since then, she argues that participation as a discourse is over in visual art, but continues to exist in strands of theatre and dance. The main causes for its demise as a coherent discourse are activism and social media. In visual art, participation has been superceded by a feminist discourse of &#8216;care&#8217;; in museums, by the neoliberal rebranding of participation as &#8216;viewer engagement&#8217;. Moreover, the book\u2019s central thesis, concerning an aesthetics of antagonism, has lost force as a result of right-wing interest in transgression and disruption. This leaves us with a dilemma: what can participation accomplish in the face of a catastrophically divided society?[\/vc_column_text][vc_column_text]In collaboration with ICNOVA da Universidade Nova de Lisboa<\/p>\n<p>&nbsp;<\/p>\n<p>* with ticket collection 45 min before the start of the session ( subject to room capacity )[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=&#8221;Bio&#8221; font_container=&#8221;tag:h4|text_align:left&#8221; use_theme_fonts=&#8221;yes&#8221;][vc_separator][vc_column_text]<strong>Claire Bishop<\/strong> is a critic and professor in the PhD Program in Art History at the Graduate Center, City University of New York. Her books include Artificial Hells: Participatory Art and the Politics of Spectatorship (Verso, 2012), Radical Museology, or, What\u2019s Contemporary in Museums of Contemporary Art? (K\u00f6nig, 2013), and a book of conversations with Cuban artist Tania Bruguera (Cisneros, 2020). She is a Contributing Editor of Artforum, and her essays and books have been translated into twenty languages. She is currently completing two books: a short publication about Merce Cunningham\u2019s Events, and Disordered Attention: How We See Art and Performance Today.[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>July 12th 2023<\/p>\n","protected":false},"author":14,"featured_media":23430,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[165,184],"tags":[253,286],"class_list":["post-23428","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-post-archive","tag-2023-en","tag-previous"],"_links":{"self":[{"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/23428","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/comments?post=23428"}],"version-history":[{"count":5,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/23428\/revisions"}],"predecessor-version":[{"id":23532,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/23428\/revisions\/23532"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/media\/23430"}],"wp:attachment":[{"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/media?parent=23428"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/categories?post=23428"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/tags?post=23428"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}