Erving Goffman: The Presentation of Self in Everyday Life (1956)

“The Presentation of Self in Everyday Life is a seminal sociology book by Erving Goffman. It uses the imagery of the theatre in order to study human behavior in social situations and the way we appear to others. Discussions of social techniques are based upon detailed research and observation of social customs in many regions.”

Publisher University of Edinburgh, 1956
162 pages

Wikipedia

PDF

Alexei Kruchenykh, et al.: Victory Over the Sun (1912–) [RU, EN, DE]

“Victory over the Sun (Победа над Cолнцем; Pobeda nad Solntsem) is a Russian Futurist opera premiered in 1913 at the Luna Park in Saint Petersburg.

The libretto written in zaum language was contributed by Alexei Kruchenykh, the music was written by Mikhail Matyushin, the prologue was added by Velimir Khlebnikov, and the stage designer was Kazimir Malevich. The performance was organized by the artistic group Soyuz Molodyozhi. The opera has become famous as the event where Malevich made his first Black Square painting (in 1915).

The opera was intended to underline parallels between literary text, musical score, and the art of painting, and featured a cast of such extravagant characters as Nero and Caligula in the Same Person, Traveller through All the Ages, Telephone Talker, The New Ones, etc.

The audience reacted negatively and even violently to the performance, as have some subsequent critics and historians.” (Wikipedia)

Published in Moscow, Dec 1912
28 pages

English translation
Translated by Ewa Bartos and Victoria Nes Kirby
Published in The Drama Review 15:4, Fall 1971, pp 106-124

Kruchenykh at Monoskop wiki
Wikipedia

Pobeda nad solntsem (Russian, JPGs)
Victory Over the Sun (English, 1971)
Sieg über die Sonne (German, trans. & comm. Gisela Erbslöh, 1976, JPGs/PDF, added on 2015-8-10)

Audio recording (Monoskop wiki)

Claire Bishop: Artificial Hells: Participatory Art and the Politics of Spectatorship (2012/2022)

“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.”

Publisher Verso Books, London, 2012
ISBN 1844676900, 9781844676903
390 pages

Reviews: Josephine Berry Slater (Mute, 2012), Mechtild Widrich (caa.reviews, 2013), Marcus Verhagen (New Left Review, 2014), Kenn Watt (Drama Review, 2014), Kim Charnley (Art Journal, 2014), Joseph Henry (New Inquiry, 2012), Jaenine Parkinson (Vague Terrain, 2011), Ryan Wong (Hyperallergic, 2012), Alexander Provan (NY Observer, 2012), Leah Lovett (Dark Matter, 2013), David M. Bell (Political Studies Rev, 2017), Corinne Segal (Boston Review, 2012), Christine Korte (Public, 2013), Jennie Klein (PAJ, 2015).

Author
Publisher

PDF (7 MB, updated on 2019-3-18)
PDF (new ed., 2022, 38 MB, added on 2025-7-23)