Participation in Art and Architecture

Martino Stierli is The Philip Johnson Chief Curator of Architecture and Design at The Museum of Modern Art (MoMA), New York. He is the author of Las Vegas in the Rearview Mirror (2013), and Montage and the Metropolis (2018).Mechtild Widrich is Professor of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. Widrich is the author of Performative Monuments (2014) and The Sites of History (2022).

• List of IllustrationsAcknowledgementsWhose Participation? Introductory Remarks - Martino Stierli and Mechtild WidrichPart I: Agency 1. The Infrastructure of Participation: Cultural Centres in Postwar Europe - Kenny Cupers 2. Occupied Sites: Tlatelolco and Metropol Parasol - Ana María León 3. Aesthetics and Politics of Participation in 1960s Brazil: From Hélio Oiticica’s ‘Parangolés’ to the Paulista School of Architecture - Martino Stierli 4. Putting on the Map: Suzanne Lacy’s International Dinner Party - Elke Krasny 5. Exhibitions in Damaged and Destroyed Architectural Objects in Besieged Sarajevo: Spaces of Gathering and Socialization - Asja Mandic 6. City of Revolution: On the Politics of Participation and Municipal Management in Cairo - Mohamed Elshahed 7. Disobedient Objects - Gavin Grindon Part II: Display 8. Between Theatre and Agora: Thoughts on Exhibition, Drama and Participation - Werner Hanak-Lettner 9. 1912 – Hellerau as Spielraum - Lutz Robbers 10. Participatory Aesthetics: Alexander Dorner’s Reorganization of the Provinzialmuseum Hannover (1923–1926) - Sandra Löschke11. ‘The Ultimate Erotic Act’: On the Performative in Architecture - Mechtild Widrich 12. Echo-Logy: Working with Allan Kaprow - Philip Ursprung 13. Documentary (Non-)Interventions: Mediated Presence in Public Space and its Artistic Reflection - Katja Kwastek Author BiographiesIndex

‘Marking out a knowingly complex field of contemporary scholarship on “participation” in art and architecture, this volume is testament not only to the multiple valences of the term – artistic, social, political, civic, urban, economic, and more – and the distinct contexts in which participatory acts and forms of agency have appeared or been strategically mobilized, but also of the term’s rich and ongoing potential as a critical and artistic lens. Inviting us to continue to “think” through participation, it will be a welcome addition to contemporary debates on the ethical and political dimensions of art and architecture’.