Good intentions : judging the art of encounter

Good Intentions Judging the Art of Encounter Erik Hagoort Foundation for Visual Arts, Design and Architecture Good In...

Author: Erik Hagoort ; ed.: Lex ter Braak ; final ed.: Mirjam Beerman | David Haines ; transl. Claire Weeda .

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Good Intentions Judging the Art of Encounter Erik Hagoort Foundation for Visual Arts, Design and Architecture

Good Intentions

Foreword

Judging the Art of Encounter

)NEARLY3PRING ,EXTER"RAAK DIRECTOROFTHE.ETHERLANDS &OUNDATION FOR 6ISUAL !RTS $ESIGN AND !RCHITECTURE KNOWN IN 4HE .ETHERLANDS AS &ONDS "+6" ASKED ME TO CONSIDER A FOLLOW UP TO MY ARTICLE @,EEGTE ALS HOORN DES OVERVLOEDS %MPTINESSA(ORNOF0LENTY DE6OLKSKRANT /NTHEBASIS OFCONVERSATIONSWITH2OÏ#ERPAC !LICIA&RAMISAND3UCHAN +INOSHITA )HADPLACEDTHEARTOFENCOUNTERINTHETRADITIONOF ICONOCLASM @&ORM &ORM JUST SITS IN THE WAY OF ART &RAMIS DECLARED!TTHATTIME HERCLEARANDCATEGORICALREPLYHADLED ME TO CALL &RAMIS AND THE OTHER @ENCOUNTER ARTISTS @MORFO CLASTS.OW )WASNOLONGERSATISFIEDWITHTHISCHARACTERIZA TION)TTURNEDOUTTHEREWASNOTSOMUCHDISLIKEOFFORMAFTERALL AMONGTHEARTISTSWHOENTEREDINTOENCOUNTERSWITHTHEPUBLIC )TWASNTABOUTAFUSIONBETWEENARTANDLIFEEITHER"UTWHAT THENDIDTHESEENCOUNTERSENTAIL4HISWASAQUESTIONWHICH CONTINUEDTOOCCUPYMYMIND!TLAST COMMISSIONEDBYTHE &ONDS"+6" )COULDSTARTLOOKINGFORANANSWER ) AM INDEBTED TO ,EX TER "RAAK FOR HIS PATIENCE AND CON STRUCTIVECRITICISM)WOULDALSOLIKETOTHANKARTISTS2OÏ#ERPAC *EANNE VAN (EESWIJK (ANS #HRISTIAAN +LASEMA AND 7ALLY 7ALTER3TEVENSFORTHEIRCOOPERATION AND#HRISTINEDE"AAN )LSE"ULHOF 2OBVAN'ERWENAND!DVAN2OSMALENFORTHEIR DISCERNINGCOMMENTS!NDFINALLY )WOULDLIKETOTHANKMYHUS BAND!LBERT WITHOUTWHOSESTIMULUSANDSUPPORTTHISESSAY WOULDNEVERHAVECOMEABOUT %RIK(AGOORT

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Good Intentions

Introduction

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h4HEROADTOHELLISPAVEDWITHGOODINTENTIONSv ORSO)WAS TOLD WHEN ) ANNOUNCED ) WAS GOING TO WRITE AN ESSAY ABOUT JUDGING THE ART OF ENCOUNTER 'RANTED THE ARTISTS WHO HAD ORGANIZEDALLTHOSEMEETINGS MEALS WALKS TRIPS COMMUNITY PARTIESANDACTIVITIESINRECENTYEARSMAYHAVEMEANTWELL BUT THEOUTCOMELEFTALOTTOBEDESIRED TOSAYTHELEAST"ESIDES THEARTOFENCOUNTERHADHADITSDAYANYWAY MYCOMPANION WENTON)TWASCHARACTERISTICOFTHEFRIVOLOUSS)NTHENEW MILLENNIUM AHARSHERERACALLEDFORMORE@EXPLICITART *UDGMENTPASSED THEARTOFENCOUNTERPASSÏTHEDISCUS SIONSEEMEDCLOSED"UTTHEPHRASEONLYBRUSHEDTHESUBJECT MATTER )T WARNS THAT YOU HAVE TO ACT ON YOUR INTENTIONS OR YOU ARE LIKELY TO FALL INTO SIN /R LESS PEDANTICALLY IT IMPLIES THATGOODINTENTIONSARENOTENOUGH"UTIFONETHINGISCLEAR ITS THAT THE ARTISTS WHO HAVE APPLIED THEMSELVES TO THE ART OFENCOUNTER HAVEDEFINITELYACTEDONTHEIRINTENTIONS4HERE HAVE BEEN COUNTLESS @MEETINGS .EVERTHELESS MANY PEOPLE STILLREGARDTHISARTFORMASINADEQUATE ASIFTHEARTISTSARENT MAKINGGOODTHEIRPROMISES(OWEVER WHATEXACTLYISLEFTTO BEDESIRED REMAINSHAZY-OREANDMORE ITISSTARTINGTOSEEM THATTHEACTUALJUDGMENTOFTHEARTOFENCOUNTERISFLAWED 4HERE IS A MYRIAD OF OPINIONS 7HETHER IT INVOLVES LOW KEY LOUNGING OR MORE AMBITIOUS SOCIALLY ENGAGED ENCOUN TERS ART CRITICS HAVE ASSUREDLY SAID THEIR PIECE 4HE FIRST ART FORM KNOWNASRELATIONALAESTHETICS HASOFTENBEENBRANDED ELITISTANDNAIVE ORRATHERMAGNANIMOUSINITSNAIVETÏ SOME TIMES EVEN REVOLUTIONARY 4HE OTHER SOCIAL COMMITMENT HAS FREQUENTLYBEENDISMISSEDASTHEEXPLOITATIONOF@THEMANIN THESTREET OREXTOLLEDASATOKENOFSOLIDARITYINASOCIETYRID DLEDWITHCYNICISM"UTTHISDIVERSITYOFOPINIONSHASNOTBEEN ABLETOMASKACERTAINUNEASINESSWHERETHEARTOFENCOUNTER ISCONCERNED )N MY VIEW THE FACT THAT THE ART OF ENCOUNTER DOES NOT INVOLVEANYCONCRETEOBJECTS CONCEPTSORPERFORMANCESONLY PARTLYEXPLAINSTHISUNEASINESS4HEELUSIVENESSOFENCOUNTERS 07

Good Intentions

DOES NOT MAKE DETERMINING HOW TO MERIT THEM AS WORKS OF ARTANYEASIER"UTTHATSHOULDNTBEANEXCUSEFORNOTTRYING /FCOURSE NOTALLARTISTSSUCCEEDINEXPRESSINGTHEIRREASONS ARTICULATELY BUT SOME HAVE VOICED THEIR OBJECTIVES IN PLAIN LANGUAGESOLIDARITY PERSEVERANCE LOYALTY RESPONSIBILITY SUS CEPTIBILITY SUBMISSION CURIOSITY COURAGE FRIENDSHIP INTIMACY SOMETIMESEVENLOVE)TISSIGNIFICANTTHATMOSTARTCRITICSAT BESTMERELYDRAWATTENTIONTOTHESECONCEPTS WITHOUTACTUALLY INQUIRINGINTOTHEIRMEANING ANDPREFERTOMAINTAINANABSTRACT DISCOURSEABOUTRELATIONALAESTHETICSANDENGAGEMENT )N THE ART OF ENCOUNTER MORAL REASONS ARE AT PLAY !ND IT IS EXACTLY THAT INCENTIVE THAT $UTCH ART CRITICS ARE STRUGGLING WITH AS THE COLLECTION OF ESSAYS .IEUW ENGAGEMENT .EW #OMMITMENT 1 RECENTLY ILLUSTRATED !RT DOES NOT LEND ITSELF TO COMMITMENT ISTHEGENERALFEELING!RTISTSWISHINGTOUSEART AS A VEHICLE FOR MORAL DISPOSITIONS ARE BOUND TO BE DISAP POINTED IS THE PRECONCEIVED OPINION !CCORDING TO ART CRITIC (ANSDEN(ARTOG*AGER @THEBESTARTISTS STANDALOOFFROM SOCIETY WHICH IS FAIRLY EMBLEMATIC OF THE CONSENSUS THAT IN 7ESTERN CIVILISATION ART ENJOYS THE PRIVILEGE OF BEING ABLE TO THRIVEATADISTANCEFROMTHERESPONSIBILITIESOFEVERYDAYLIFE ANDTHATITSHOULDSTAYTHATWAY2 @*ENSEITSVON'UTUND"ÚSEHOLDSTRUEFORALOTOFART EVEN ARTTHATISPASSEDOFFASTHEARTOFENCOUNTER"UTITDOESNTAPPLY TOTHEARTWORKOFASMALLGROUPOFINDIVIDUALARTISTSWHOWORK WITH MORAL DISPOSITIONS DEALING WITH THEM FREELY IN A MAN NERWHICHSEEMSCOMPLETELYNATURALTOTHEMSELVESANDTHEIR KINDREDSPIRITS)PROPOSETHATWETAKEACLOSERLOOKATTHESE ARTISTSnWITHAPPROPRIATERESERVATIONS.OTBECAUSEARTISTSARE ON SLIPPERY GROUND WHEN IT COMES TO MORALITY AND CERTAINLY NOTBECAUSEARTISTSSHOULDNTBEALLOWEDTOEXPLORETHATFIELD INTHEIRWORK7EMUSTHOWEVERBEARINMINDTHATOTHERSHAVE ALREADYLEDTHEWAY ANDTHATMORALITYHASALLTHEEARMARKSOFA WELL PLOUGHEDFIELD ORONESTRUCKBYCATASTROPHE WHEREEVERY 08


BUILDING STONE LIES IN DISARRAY TO USE !LASDAIR -AC)NTYRES FAMOUSCHARACTERIZATIONOFTHESTATEOFCONTEMPORARYTHOUGHT ANDDIALOGUEONMORALITY3)NARTASWELLASINMORALITY THEREARE NOCLEARJUDGMENTCRITERIA WHICHEXPLAINSWHYTHEARTCRITICS HAVESOMANYRESERVATIONSABOUTDRAWINGINMORALITYINTHEIR JUDGMENT"UTITSSIMPLYACASEOFCOLDFEET -AC)NTYRE AND WITH HIM PHILOSOPHERS SUCH AS -ICHEL DE #ERTEAU -ARTHA .USSBAUM AND )LSE "ULHOF ARGUE THAT THE QUALITYOFMORALDISPOSITIONSISATISSUE ANDNOTJUSTINART)T ISTHEIRVIEWTHATEVENINAPLURALISTICSOCIETY WHERENODEFI NITENORMATIVECONCEPTPREVAILS WESTILLSTRIVETODOGOODAND TODEVELOPMORALDISPOSITIONSWHICHAREINKEEPINGWITHTHIS STRIVING GENERATING NEW MORAL DISPOSITIONS PERHAPS EVEN NEWALTERNATIVEVIRTUES)NTHEIRBIDTOINTERPRETANDFINDWAYS TO JUDGE THESE DISPOSITIONS THESE PHILOSOPHERS HAVE DRAWN INSPIRATIONFROMTHEARTS NOTABLYFROMTHEPERFORMINGARTS AN ARTFORMINWHICHDISPOSITIONSAREOFTENPRESENTED SOMETIMES EVENREPRESENTED 4HE ART OF ENCOUNTER DEMONSTRATES AFFINITY WITH THE PER FORMING ARTS AN ART FORM WHICH HAS AROUSED THE INTEREST OF PHILOSOPHERS)TTHEREFORESEEMSAGOODIDEATOTAKEACLOSER LOOKATTHEIRFINDINGS)TWILLSHOWTHATTHEARTOFENCOUNTERISNT THATHAZYATALL)TWILLDEMONSTRATETHATITSNOTATALLIMPOS SIBLE TO DETERMINE ITS MERITS %SPECIALLY CONTEMPORARY VIRTUE ETHICSCANOFFERASTARTINGPOINTFORJUDGINGTHEARTOFENCOUN TER(OWEVER ASWILLBECOMECLEAR THISESSAYWILLHAVETOTAKE ACLOSELOOKATTHEJUDGMENTOFTHEARTOFENCOUNTERASWELL INJUDGINGTHEENCOUNTERS THECRITICSDISPOSITIONCOMESINTO PLAY 7HICH LEAVES US THE REMARK THAT THE ART OF ENCOUNTER HAS HADITSDAY)TCERTAINLYDOESSEEMTHATTHEHEYDAYSAREOVER !S -ETROPOLIS - EDITOR IN CHIEF $OMENIEK 2UYTERS RECENTLY REMARKED @)NTHEARTWORLD THENUMBEROFMEETINGSHASDROP PEDSIGNIFICANTLY"UTITASSUREDLYWASNT2UYTERSSINTENTIONTO 09

Good Intentions

BURYTHEARTOFENCOUNTERINTHEMAUSOLEUMOFHISTORYWITHTHIS REMARK )N FACT IN HIS OPINION THE SCOPE OF POSSIBILITIES HAS ACTUALLYBROADENED4%LSEWHERE HERIGHTLYARGUESTHATTHEPER SONALLYMOTIVATEDCOMMITMENTSHOWNBYTHEARTISTS DEMON STRATESA@COMMONDESIRETOGIVESHAPETOAWORLDWHICHISNOT RIDDLEDWITHCYNICISM5 !LLTHEMOREREASONTOTAKEACLOSELOOKATTHEARTWORKOF THOSEARTISTSWHOCONTINUETOAPPLYTHEMSELVESTOTHEARTOF ENCOUNTER AND TO WORK ON DISPOSITIONS WHICH ARE IN ACCOR DANCEWITHADESIREFORGOOD7HATEXACTLYISIMPLIEDBY@GOOD REMAINSTOBESEEN/NETHINGSFORSURETHEARTISTSWHOFEATURE INTHISESSAYALLMEANWELL4HEYALLPLANONHOLDINGONTOTHEIR BELIEFS!NDTHEYCERTAINLYDONTJUSTRELYONTHEIRGOODINTEN TIONS4HEREISASTRONGDESIRETOGAINADEEPERINSIGHTSOME OFTHEARTISTSAREEVENDEVELOPINGANEWPERSPECTIVEFORDETER MINING THEIR POSITIONS 4HE JUDGMENT OF THE ART OF ENCOUNTER HASONLYJUSTBEGUN

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4HAIARTIST2IRKRIT4IRAVANIJAGOTSMALLTHANKSFORHISPAINSWHEN HECALLEDAMEETINGATTHE.EW9ORK'ALLERYIN6/NE OFTHEVISITORSTHREWANEGG4HENTHEOTHERVISITORSFOLLOWED SUIT ANDBEFOREYOUCOULDSAY@OMELETTE EGGWHITEWASDRIP PINGFROMTHEWALLS4IRAVANIJAHADSUPPLIEDTWELVEEGGCARTONS FOR THE OCCASION "UT THESE EGGS WERE NOT FOR THROWING THE VISITORSWERESUPPOSEDTOBOILANDEATTHEM4HEGALLERYHAD BEENFITTEDOUTWITHKETTLES EGGTIMERS SALTANDPEPPER CHAIRS ANDATABLE )TCOULDHAVEBEENSUCHAPLEASANTENCOUNTERSTRIKINGUP ACONVERSATIONWHILSTPREPARINGTHEFOOD LISTENINGTOTHEKET TLESINGINGANDTHETIMERSWHISTLING LOOKINGINTOEACHOTHERS EYESWHILSTPEELINGANDEATINGTHEEGGS!NENCOUNTERWITHOUT REASON OR PURPOSE "UT THOSE PRESENT WERENT REALLY IN THE MOOD 0ERHAPS THEY DIDNT UNDERSTAND WHAT WAS EXPECTED OFTHEM ORMAYBETHEYWEREJUSTABOISTEROUSLOT"EITASIT MAY THEARTISTDIDNOTINTERVENE4IRAVANIJADIDNOTTRYTODIRECT THEAUDIENCE ORPUTTHEMINTHEIRPLACE.ORDIDHESLINKOFF WITHHISTAILBETWEENHISLEGS(EJUSTLOOKEDONIDLY/FCOURSE 4IRAVANIJAHADHOPEDTHATTHEVISITORSWOULDHAVEBOILEDTHE EGGSINSTEADOFPELTINGTHEMATTHEWALLS/FCOURSEHECARED (OWEVER CONTRARYTOWHATYOUDEXPECT HEDIDNTCONSIDERTHE GATHERINGBAPTIZEDINEGG WHITEAWASHOUT(EHADBEENTHE ONETOSETTHECONDITIONS"UTHEDIDNTWANTTOINFLUENCETHE ACTUALEVENTS(EDIDNTWANTTOBEINCONTROL4HEAUDIENCE DIDNTHAVETOCARRYOUTWHATHEBOREINMIND4HEARTISTWANTED TOAVOIDLAYINGDOWNTHELAWTOTHEAUDIENCE HOPINGINSTEAD THATITWOULDEASEITSELFAWAYFROMACONVENTIONAL DETACHED ATTITUDETOWARDSART!NYINTERFERENCEFROMHISENDWOULDPUTA BLOTONTHEPICTURE$ROPPINGAHINTBYBOILINGACOUPLEOFEGGS HIMSELF WASTHEFARTHESTHEWOULDGO4HEPOSSIBILITYTHATTHE AUDIENCEMIGHTMISBEHAVE WASARISKHEWASWILLINGTOTAKE


FOR A MEGAPROJECTENTITLED #ULTUREIN !CTION )N THE SUMMER OF AFTER TWO YEARS OF INTENSIVE PREPARATIONS UNDER THE AUSPICESOFNON PROFITARTORGANISATION3CULPTURE#HICAGOAND DIRECTED BY CURATOR -ARY *ANE *ACOB A DOZEN ARTISTS FINALLY GOT TO WORK ON THEIR PROJECT &OR MONTHS THEY JOINED FORCES WITH COMMUNITIES IN #HICAGO WHICH THEY HAD EITHER CHOSEN THEMSELVESORWHICHHADBEENASSIGNEDTOTHEMBYTHEORGA NISATION,IKE4IRAVANIJA THEYANTICIPATED@AMOREINTIMATEAND MEANINGFULRELATIONSHIPBETWEENTHEARTISTANDTHEAUDIENCE 7 BUTCONTRARYTO4IRAVANIJA THEOBJECTIVESOFTHEVARIOUSPROJECTS HADBEENCLEARLYDEFINED!SA@NEWGENREPUBLICART #ULTUREIN !CTIONWASTORAISEISSUESTHATTOUCHED@THEHEARTSOFTHEMAN INTHESTREETEMPLOYEEPARTICIPATION POVERTY HOMELESSNESS AIDS THE ENVIRONMENT 4HROUGH ART THE COMMUNITIES WOULD OBTAINTOOLSTOFORGESOLIDARITYANDTOCOMBATSOCIALINJUSTICE #ULTUREIN!CTIONAIMEDTOHAVEADIRECTIMPACTONSOCIAL LIFE 4ENANTS LIVING IN GHETTO AREAS ORGANISED A MULTI ETHNIC NEIGHBOURHOODPARADE SWEETFACTORYWORKERSDESIGNEDAND PRODUCEDANEWCANDYBAR THEYLAIDOUTAVEGETABLEGARDENFOR HIVANDAIDSPATIENTS ANDTEENAGERSLIVINGONTHESTREETSFOUN DEDAVIDEO COOPERATIVE#URATOR-ARY*ANE*ACOBTRUMPETED FORTHTHEFUNDAMENTALSHIFTWHICHINHERVIEWWASPLAYINGOUT ASHIFT@FROMPROMOTINGAESTHETICQUALITYTOCONTRIBUTINGTOTHE QUALITYOFLIFE FROMENRICHINGLIVESTOSAVINGLIVES8

!TABOUTTHESAMETIMEAS4IRAVANIJASEVENT4RUETO,IFETOOK PLACEIN.EW9ORK PREPARATIONSWEREBEINGMADEIN#HICAGO

)N RETROSPECT 4RUE TO ,IFE AND #ULTURE IN !CTION MARKED THE BREAKTHROUGH OF THE ART OF ENCOUNTER $ESPITE HIS GATHERING BEINGBAPTIZEDINEGGWHITE 4IRAVANIJAWASSOONTOPROCEED ONATRIUMPHALPROCESSIONTHROUGHTHEINTERNATIONALARTWORLD -ANY A BIENNALE AND WELL KNOWN ART GALLERY AND EXHIBITION SPACEINVITEDHIMTOCOMEANDCOOK4HAIFOODWITHANAUDIENCE 4HESELECTCOMPANYGENERALLYACCEPTEDHISINVITATIONOBEDIEN TLY )N THE S MORE ARTISTS WENT ON TO SET THE CONDITIONS FOR ENCOUNTERS WITH 4IRAVANJIAS APPROACH AS THEIR BEACON #ULTUREIN!CTIONALSOWASABREAKTHROUGHITSERVEDASAMODEL

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FORAWHOLERANGEOFSOCIALLYENGAGEDARTPROJECTS%LEMENTSOF #ULTUREIN!CTIONCANSTILLBEFOUNDINARTPROJECTSORGANISEDBY ARTISTSINDISADVANTAGEDCITYAREASTOTHISVERYDAY !ND SO RECENT ART HISTORY HAS DEVELOPED TWO MORE OFF SHOOTS/NEREPRESENTINGLOW KEY LOUNGE TYPEGATHERINGS THE OTHER LARGE SCALE SOCIALLY ENGAGED ACTIVITIES 6ARIOUS TERMS HAVECOMEINTOUSERELATIONALAESTHETICSORNEWNAÕVETÏ AND AT THE OTHER END OF THE SPECTRUM SOCIALLY ENGAGED ART /NE SHOOTEMBRACEDINTIMACY ASITS PRINCIPLE THE OTHER COMMIT MENT"OTHSHOOTSSEEMINGLYDEVELOPEDINDEPENDENTOFEACH OTHER%ACHCOULDBOASTITSOWNCIRCLEOFFANS "UTFROMTHEOUTSETITWASALSOEVIDENTTHATBOTHSHOOTSHAD SOMETHING VERY IMPORTANT IN COMMON WHETHER IT INVOLVED A NICECHATINPRIVATEORSOCIALLYENGAGEDACTIVITIES THEAUDIENCE WASEXPECTEDTOTAKEPART TO@INTERACT7ITHINTHEFRAMEWORK SETBYTHEARTIST THEPUBLICWASTOTHROWOFFITSALLEGEDLYPAS SIVE CONSUMPTIVE ATTITUDE BY EATING STROLLING DANCING AND TALKING4HEENCOUNTERWASTHEESSENCE NOTLOOKINGATANART OBJECTORATTENDINGAPERFORMANCE,ACKINGPROPERFORMAND ELUSIVEBYNATURE THEENCOUNTERDIDNTFALLUNDERTHECATEGORY OFSOCIALSCULPTUREEITHER !SEARLYAS !RTHUR$ANTOHADARGUEDTHAT EVERSINCE !NDY7ARHOLS"RILLO"OXESHADMADEASKINGQUESTIONSABOUT ART MORE IMPORTANT THAN ITS PRODUCTION ART HAD TURNED INTO PHILOSOPHY9#ONCEPTUALARTISTSHADALREADYDEMONSTRATEDTHAT AN IDEA OR TEXT WHICH EXPRESSED THIS NOTION COULD BY ITSELF BEPOTENTENOUGHTOBEAPPRECIATEDASAWORKOFART*OSEPH "EUYSSDEMOCRATIZATIONPROJECTSHADALREADYSHOWNTHATTHE PUBLIC COULD THROW OFF ITS PASSIVE ATTITUDE AND START TO PLAY ANACTIVEROLEINART!NDTHEIDEATHATTHEPROCESSOFWORKING TOGETHER COULD BE MORE IMPORTANT THAN THE FINAL RESULT HAD BEENTRIEDANDTESTEDYEARSAGOBYSOCIALARTISTGROUPSSUCHAS *OHN,ATHAMAND"ARBARA3TEVINIS%NGLISH!RTISTS0LACEMENT 'ROUP 4HEEVANESCENTQUALITYOFARTOFENCOUNTER THEREFOREWASNOTSOSENSATIONALASONEMIGHTTHINK

.EVERTHELESS THE ENCOUNTERS MADE THE ART CRITICS FEEL UNCOMFORTABLE0ERHAPSMORESOBECAUSEARTCRITICISMITSELF INSTEADOFTHEARTWORK WASBECOMINGEVANESCENT)NTHECASE OF4RUETO,IFE FOREXAMPLE EVERYRANDOMOUTCOMESEEMED VALUABLE!NDASFARAS#ULTUREIN!CTIONGOES THEWORKWASSO EMBEDDEDINTHESOCIALSTRUCTURES THATTORENDERANAESTHETIC JUDGMENTSEEMEDPREPOSTEROUS)NBOTHCASES CRITICISMAND APPRECIATIONWEREKEPTFLOATINGINTHEAIR

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&RENCHCURATOR.ICOLAS"OURRIAUDISKNOWNASAFERVENTADHE RENT OF RELATIONAL AESTHETICS (E HAS MADE A STRONG CASE FOR THEIDEATHATARTCANBEVIEWEDASANINVITATIONTOSHARETHE WORLD)N"OURRIAUDSVIEW ALLARTWORKHASRELATIONALASPECTS BECAUSEITAIMSATINTERACTION!RTBINDS ARTISABONDINGAGENT ARTIS@AGGLUTINATIONASORTOF@SOCIALGLUE "OURRIAUDARGUES10 nASPECTSWHICH AS"OURRIAUDRIGHTLYREMARKS ARENTEXACTLY SUBJECTTOAESTHETICCRITERIA(OWWESHOULDTHENMERITTHEVARI OUSFORMSOFTHEARTOFENCOUNTER ISANISSUEWHICH"OURRIAUD HASNEVERTHELESSFAILEDTOADDRESS(ISENTHUSIASMHASRESUL TEDINWONDERFULBUTEXTREMELYVAGUEDEFINITIONS SUCHASTHE UNTRANSLATABLE @LINFRAMINCE SOCIAL FOR THE EPHEMERAL @SOCIAL INTERSTICEWHERERELATIONALARTPROFESSEDLYSUBSIDES!ND ASIF TODIVERTONESATTENTIONFROMHISSHADOWYLINEOFREASONING HE MAKESPLAYWITHTHESUBVERSIVENATUREOFRELATIONALAESTHETICS !CCORDINGTO"OURRIAUD RELATIONALAESTHETICSAREJUSTABOUTTHE LASTENCLAVEOFINTERHUMANCONTACT AMIDSTGROWINGSUPERFICI ALITYINACONSUMERSOCIETY(ISACTIVISTSTYLEISSUPPOSEDTO CHARM US OUT OF RAISING DIFFICULT DISCERNING QUESTIONS ABOUT THEARTOFENCOUNTER "OURRIAUDHASFOUNDANALLYINCURATOR*ENS(OFFMANN WHOHAS WRITTENILLUMINATINGARTICLESONTHEART HISTORICALBACKGROUNDS OF RELATIONAL AESTHETICS AND THE ARTISTS MOTIVES (OFFMANN HOWEVER HAS SUCH A HIGH OPINION OF THIS ART FORM THAT ITS ALMOSTIMPOSSIBLEFORANARTISTTOMEETHISHIGHSTANDARDS(IS ASSERTIONTHATTHESEARTISTS@DEVELOPANDEFFECTSTRONGSOCIAL TIES 11ISMOREORLESSANOPENINVITATIONTOARTCRITICSTOLOOK FOREXAMPLESOFTHECONTRARYWITHINHISOWNWRITINGS!RTCRITIC !NNA4ILROE FORONE HADAFIELDDAYWITH)TALIANARTIST0ATRICK 4UTTOFUOCOSBIKEPROJECT6ELODREAM 4UTTOFUOCOINVITED VISITORS TO DO LAPS AROUND A RACECOURSE IN BRIGHTLY DECORA TEDGO CARTSnHARDLYTHEEPITOMEOF@DEVELOPINGSTRONGSOCIAL TIES ,ESS CONVINCING HOWEVER IS 4ILROES CONCLUSION THAT (OFFMANSCOMMITMENTASACURATORTHEREFOREAMOUNTSTONEXT 17

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TONOTHING124ILROE TOO HASFAILEDTOADDRESSTHEISSUEHOWTO JUDGEPROJECTSBEARINGTHESEEDSOFSOCIALENGAGEMENT PRO JECTSWHICHALSOFEATUREIN(OFFMANNSWORKASACURATOR13 !RT CRITIC #ORNEL "IERENSS CYNICAL REVIEW OF THE ART OF ENCOUNTER ECHOES THE SAME UNEASINESS STEAMROLLERING OVER JUST ABOUT EVERY CONTEMPORARY ARTWORK THAT DOESNT REQUIRE PROPER CRAFTSMANSHIP (IS CALL FOR ARTISTS TO PRODUCE EXCEL LENT WORK IS COMMENDABLE BUT HE FAILS TO EXAMINE WHETHER ANDHOWTHECONDITIONSFORANENCOUNTERCOULDENTAILARTISTRY SOMETHINGWHICH INHISVIEW ISOUTOFTHEQUESTIONASFARASA CONVERSATION ORAMEAL ORASTROLLISCONCERNED14 ! MORE ELABORATE INFORMATIVE AND INQUISITIVE APPROACH CANBEFOUNDIN2UTGER0ONTZENS.ICE/VERNIEUWENGAGE MENT IN DE HEDENDAAGSE KUNST .ICE .EW #OMMITMENT IN #ONTEMPORARY!RT 150ONTZENHASPAINTEDAROSYPICTUREOFTHIS ARTGENREINTHE,OW#OUNTRIES WARNINGUSNOTTOOVER EXAG GERATE THE ARTISTSS COMMITMENT -ICRO COMMITMENT HAS ITS OWNMERITS!LLTHEARTISTSAREOUTFOR ACCORDINGTO0ONTZEN IS TOGIVEASMALLAUDIENCEANICEEXPERIENCE0ONTZENSTONGUE IN CHEEK TONEOFTENCOAXESASMILEANDCANHAVEASOBERING EFFECT BUTHETOOFAILSTOADDRESSTHEISSUEHOWTOJUDGETHIS FORMOFART )NREVIEWINGTHEARTOFENCOUNTER THEORISTSHAVEHADASLIGHTLY EASIER TASK THAN ART CRITICS AND CURATORS THEY DONT HAVE TO CHOOSESIDES.EVERTHELESS THEYTOOSEEMSLIGHTLYUNCOMFORT ABLEWHENITCOMESTOTHEARTOFENCOUNTER!CCORDINGTOART THEORIST #AMIEL VAN 7INKEL THE ARTISTS ENDEAVOURS TO ENTER INTOMOREINTENSERELATIONSHIPSWITHDAILYREALITYCANBESEEN ASAREACTIONTOMINIMALISMSENDEAVOURSTOBANISHTHEPERSO NALANDTHEINTIMATEINTHECONFRONTATIONWITHTHEARTWORK!S AREACTIONTOTHEOVERRIDINGPUBLICNATUREOFART ARTISTSBEGAN TOFEELTHEDESIREFORPRIVACY SECLUSION INTIMACYANDEXCLUSI VITY164HISWOULDEXPLAINWHYSOMEARTISTSSTARTEDORGANIZING ENCOUNTERS AND THEIR DESIRE TO SHIELD THEM FROM ONLOOKERS 18


AS MUCH AS POSSIBLE !N INTERESTING THEORY BUT 6AN 7INKEL HAS AVOIDED THE OBVIOUS ISSUE OF HOW TO APPRECIATE THESE ENCOUNTERS FAILINGTOSCRUTINIZETHEINTIMACYOFTHESEENCOUN TERS7HICHISSTRANGE*USTBECAUSETHEARTISTSSHIELDOFFTHE ENCOUNTERS IT DOESNT NECESSARILY MEAN THAT THEY SHOULDNT EVOKEINTERESTAMONGARTCRITICS !RTHISTORIAN*EROEN"OOMGAARDHASKNOCKEDTHEBOTTOM OUTOFAFEWMYTHS INCLUDINGTHEIDEATHATTHEARTOFENCOUN TERISABOUT@MICROCOMMITMENT ABOUTCREATINGAMICRO UTO PIA /N THE CONTRARY IT HAS NOTHING TO DO WITH COMMITMENT INTHETRADITIONALSENSE WHETHERONASMALLERORLARGERSCALE !CCORDINGTO"OOMGAARD THEENCOUNTERSORGANIZEDBYARTISTS ALBEITMEALS WALKSORPROTECTEDDREAMS AREACELEBRATIONOF A STATE OF INSOUCIANCE !LTHOUGH THERE ARE CERTAIN MERITS TO THIS@NEWNAIVETÏ "OOMGAARDISNOTSPECIFICASTOWHATTHESE MERITS ARE "UT FOR "OOMGAARD THATS NOT REALLY AN ISSUE IN HISVIEW ITDOESNTGOBEYONDAN@ADOLESCENTDREAMANYWAY17 %LSEWHERE "OOMGAARDHASPOINTEDOUTTHERISKSINVOLVEDIN THESEKINDSOFMEGAARTPROJECTSINITIATEDBYTHEGOVERNMENT SUCH AS *EANNE VAN (EESWIJKS COMMUNITY PROJECT $E 3TRIP 4HE3TRIP )NHISOPINION PROJECTSSUCHASTHESEARETOOCLEAR CUT THE ARTISTS| COMMITMENT IS EASILY HEDGED IN BY BUREAU CRACY18!RTISTSSHOULDBEFREETODOASTHEYPLEASE"OOMGAARD SUBSEQUENTLY CALLS ON THEM TO CONTINUE TO CREATE THEIR OWN PLATFORMS (OWEVER HE DOESNT ADDRESS THE ISSUE OF HOW TO CREATEANDPROTECTTHEFREEDOMOFENCOUNTERS 4HETIMEHASNOWCOMEFORACONSIDEREDREVIEWOFTHEARTOF ENCOUNTER @)NSTEAD OF BROAD CONDEMNATION A MORE DETAILED ANALYSISISCALLEDFOR TAKINGINTOACCOUNTALLITSCONTRADICTIONS AND WEAKNESSES BUT KEEPING IN MIND ITS POSSIBILITIES AS 3VEN,àTTICKENRIGHTLYSTATED19!RTHISTORIAN,àTTICKENCALLSFOR FURTHERREVIEW ANDRAISESTHEQUESTIONWHICHELEMENTSOFTHIS ARTFORMAREWORTHYOFFURTHERDEVELOPMENT THEREFOREIMPLYING COMMON GROUND AT THE BASIS OF SUCH A JUDGMENT "UT THERE 19

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ISNOCOMMONGROUND)TSTILLREMAINSUNCLEARHOWWESHOULD JUDGE ENCOUNTERS LET ALONE HOW WE CAN DETERMINE WHAT IS WORTHYOFFURTHERDEVELOPMENT

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)F YOU VISITED THE EXHIBITION #OMMITMENT IN -AY IN 2OTTERDAM CHANCES ARE THAT YOU RAN INTO A TALL YOUNG MAN WHILSTLOOKINGATTHEMORETHANONEHUNDREDANDTWENTYART WORKSBY&ONDS"+6" FUNDEDARTISTS0ERHAPSHEDELIBERATELY KEPTAPARTFROMTHEOTHERS ORTIMIDLYIMPOSEDHISCOMPANYON YOU(EWASNTWEARINGACOAT ANDCOULDOFTENBESEENCHAT TING TO THE ATTENDANTS AT THE FRONT DESK THEREFORE GIVING THE IMPRESSION THAT HE WAS INVOLVED WITH THE EXHIBITION IN SOME WAY(OWEXACTLY ONLYBECAMECLEARONCEHEHADINVITEDYOU TOSTEPINSIDEHISCONSULTATIONROOM)TWASASEPARATEWOODEN BUILDING JUSTBIGENOUGHFORTWOCHAIRSANDASMALLWORKTOP /N THE WALLS WERE BITS OF PAPER COVERED WITH HANDWRITING 4HERE OVERACUPOFCOFFEEORTEA YOUCOULDTALKABOUTARTIN GENERALORABOUTTHEWORKSINTHEEXHIBITION ORABOUTANYTHING WHICHSPRANGTOMIND &ORSIXTEENDAYS DURINGOPENINGHOURS ARTHISTORIAN!RNE (ENDERIKSWORKEDFROMHISOFFICEASAKINDOFEXHIBITIONANI MATOR ALBEIT A VERY DISCRETE ANIMATOR (E DIDNT SEEM TO BE SETUPONENTERTAININGTHEVISITORS!CONVERSATIONINHISCON SULTATION ROOM WAS NOT NECESSARILY HIS INTENTION 4HERE WAS NOSYSTEMATICAPPROACH ORSOPHISTICATEDDISCUSSIONTECHNI QUE7HENASKEDABOUTHISROLEINTHEEXHIBITION HESTUMBLED AROUNDFORWORDSnINTRUTH HEWASNTQUITESUREHIMSELF@(E WASTHEREFORTHEVISITORS THATMUCHWASCERTAIN(EREGULARLY CONFERREDBYTELEPHONEWITH2OÏ#ERPAC THEARTISTWHOHAD INVITEDHIM(AVINGRECENTLYBECOMEAFATHER #ERPACWASNT PRESENTATTHEEXHIBITION ALTHOUGHTHE&ONDS"+6"HADACTU ALLYINVITEDHIM ANDNOT(ENDERIKS TOCONTRIBUTE3EEINGTHAT HE WOULD NOT BE ABLE TO ATTEND THE EXHIBITION #ERPAC HAD ENLISTED(ENDERIKSSHELP4HEPREPARATIONSFORTHEPROJECTHAD BEENAJOINTEFFORT !TTHETIME #ERPACHADALREADYMADEHISMARKASANARTIST WHOSHOWSASENSEOFINVOLVEMENTWITHOTHERARTISTSANDSCHO LARS(EMOSTLYKEPTTHEMCOMPANYFORTHEDURATIONOFAPRO JECT OREVENLONGER THEOBJECTIVEBEINGTOOFFERTHEMSUPPORT

AND NOT TO ACT AS KIND OF MENTAL COACH AND CERTAINLY NOT IN ORDERTOLEAVEHISOWNMARKONTHEPROJECT(ISCONTRIBUTIONTO #OMMITMENTWASNODIFFERENT(ENDERIKSWASPRESENTATTHE EXHIBITIONEVERYDAY(OWEVER WEMUSTNTTHINKTHATHEWAS ACTINGASASUBSTITUTEFOR#ERPAC4HATWASBESIDESTHEPOINT !MIDST A PROFUSION OF SHAPES AND IMAGES AT THE EXHIBITION #ERPACAND(ENDERIKSTOOKONTHETASKOFCREATINGSPACEFOR WHATWAS ASYET WITHOUTFORMORSHAPE3PACEFORMEETING (ENDERIKS EXPLAINED SPACE FOR WHATEVER COMES ALONG FOR SPONTANEOUS DEVELOPMENTS 2ATHER THAN TO DETERMINE WHAT HAPPENEDATTHEMEETINGS THEIDEAWASTOLEAVEEVERYTHING OPEN4HESTAMMERING THEAWKWARDPAUSES THEDISCOMFORT THEANTICIPATIONITWASALLPARTOFTHEGAME )TSOUNDEDFAMILIAR)NTHES ARTISTSHADOFTENENOUGH ENTERED INTO CONVERSATIONS WITH VISITORS ENCOURAGING THEM TOSHAKEOFFTHEIRROLEASAVISITORANDTOPARTICIPATEINTHEART "UTWITH(ENDERIKSAND#ERPAC THEVISITORSWEREALLOWEDTO REMAINVISITORS4HEAUDIENCEDIDNOTHAVETOPARTICIPATEATALL !SLONGAS(ENDERIKS ANDTHROUGHHIM#ERPAC WEREINVOLVED WITHTHEPUBLIC $URINGACONVERSATIONWITH(ENDERIKS INHISCONSULTATION ROOM HEINTIMATEDTHATITWASTOUGHERTHANEXPECTED20 !FTER BUILDINGUPTHEEXHIBITIONANDTHEINITIALEXCITEMENT HISENTHU SIASMHADBEGUNTOWAVER"UTTHEN REMEMBERINGHOWTHEY HADWORKEDTOGETHER (ENDERIKSGOTSECONDWIND LEAVINGHIS OFFICETO MINGLE WITHTHE CROWD IN THE HOPE OF EXPERIENCING THESAMESENSEOFWONDERHEHADCLEARLYFELTDURINGTHERUN UP WITH#ERPAC!SENSEOFWONDER HEEXPLAINED ATTHEINSPIRING EFFECTSOFWORKINGTOGETHER"ECAUSETHATWASWHATMADEHIS ENCOUNTERSWITH#ERPACSPECIALTHERUN UPTOTHEEXHIBITION WASLIKESPENDINGTIMEWITHAGOODFRIEND (ENDERIKSWENTON TOEXPLAIN0ERHAPSHEWANTEDTOHOLDONTO TOREEXPERIENCE THEELUSIVE SHAREDINTIMACY 3EEING (ENDERIKS AT WORK IT WAS EVIDENT THAT HIS UNDER TAKING WAS AN INCURSION ON THE INTIMACY EXPERIENCED WHEN

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VIEWINGART&ORTHOSEQUIETLYTAKINGINTHEARTWORKS THEANI MATINGARTHISTORIANSPRESENCECOULDBEEXPERIENCEDASARUDE INTRUSION"UT(ENDERIKSARGUEDTHATHEONLYWANTEDTOOFFER THEVISITORSTHEOPPORTUNITYTOCATCHTHEIRBREATH TOSTEPOUT SIDETHECOCOONOFVIEWINGART TOJUSTFORAMOMENTEXCHANGE THE INTIMACY EXPERIENCED WHEN VIEWING ART FOR ANOTHER KIND OFSHAREDINTIMACY)NORDERTOREALIZESUCHATRANSFORMATION (ENDERIKSINANALMOST!RISTOTELIANMANNERCONSTANTLYENDEA VOURED TO IMPROVE HIS BEHAVIOUR THE FRIENDLY CORRECT WAY IN WHICH HE APPROACHED THE VISITORS SO AS TO HEIGHTEN THEIR RECEPTIVITYTOTHEINTIMACYTHATHEWANTEDTOSHAREWITHTHEM


,EENAARSTOMEETWITHLOCALRESIDENTS4HESTUDIOWASTOSERVE ASAREFUGE THECAMERAASANEXCUSEORCATALYSERFORHAVINGA HEART TO HEARTORREALCONTACTWITHTHERESIDENTS5NFORTUNATELY HOWEVER THERESIDENTSWERENTALLTHATINTERESTED)TWASMOSTLY CHILDRENWHOTOOKUPTHEINVITATIONTOCOMEROUNDANDHAVE THEIRPHOTOGRAPHTAKEN@LOOKINGTHEIRVERYBEST)NHERACCOUNT ,OOKSOF,OVE ,EENAARSEXPLAINSHOWITSTARTEDTOEATAWAYAT HER@7HYOCCUPYYOURSELFWITHPEOPLEWHOHAVENTASKEDFOR YOURINTERFERENCE UNDERTHEPRETEXTOFART7HATDOESSOCIAL ENGAGEMENTMEAN IFTHEREISNOBASISFORTRUST %LSEWHERE IN HER ACCOUNT ,EENAARS STATES THAT SHE WAS LOOKINGFOR@LOVEASAMOTIVATINGFORCE.OTLOVEINTHEUSUAL SENSEOFTHEWORD BUTASASPECIFICWAYOFLOOKING)NHERVIEW ARTCOULDFUNCTIONASASPECIFICKINDOFLOVE OFCONSIDERATION FOR OTHERS A SIMULATED FRIENDLY ENCOUNTER WHICH ALTHOUGH RECOGNIZEDASART COULDJUSTASWELLBEGENUINE)N,EENAARSS OPINION THISARTIFICIALLOVECOULDCOMEINTOBEINGTHROUGHTAKING PHOTOGRAPHS!NDTHISARTIFICIALLOVESHOULDFORMTHEBASISOF HERSOCIALCOMMITMENT

!TABOUTTHESAMETIMEAS(ENDERIKSWASTRYINGTOBEONHIS BESTBEHAVIOURATTHE#OMMITMENTEXHIBITION +IRSTEN,EENAARS WASUNDERTAKINGASIMILARPROJECTINABLOCKOFFLATSIN7ESTWIJK AREAOF6LAARDINGEN4HESHOPPINGARCADEONTHEGROUNDFLOOR WASVACANT ANDITWOULDTAKEATLEASTACOUPLEOFYEARSBEFORE THERENOVATIONOFTHEFLATSABOVEGOTUNDERWAY)NTHEMEAN WHILE ONTHEINITIATIVEANDUNDERTHEGUIDANCEOF*EANNEVAN (EESWIJK THESHOPPINGARCADEWASTOBECOMEA@DYNAMICCUL TURALZONE TITLED$E3TRIP21-USEUM"OIJMANSVAN"EUNINGEN OPENEDASECONDFACILITYTHERE 3HOWROOM-AMAORGANIZEDA PROJECTSPACEANDARTIST0ETER7ESTENBERGINITIATEDTHE5IT 4HUISVIDEOMAGAZIJN(OME!WAY6IDEO3TORE 3EVERALSPA CESWERERESERVEDFORSOCIO CULTURALPURPOSESANDTWOFORMER SHOP SPACES WERE TO SERVE AS ARTISTS IN RESIDENCE STUDIOS !GAIN +IRSTEN,EENAARSSCONTRIBUTIONTO$E3TRIPWASATTHE INVITATION OF 6AN (EESWIJK &IRSTLY TOGETHER WITH ARTIST 0ETER 7ESTENBERG ,EENAARS MADE A FILM PORTRAIT OF TWELVE FAMI LIESINTHEAPARTMENTBLOCK"IJONSINDEFAMILIE/UR&AMILY 3UBSEQUENTLY IN!UTUMN SHETOOKUPRESIDENCYINONE OFTHEGUESTSTUDIOS ,EENAARSTRANSFORMEDTHEFORMERSHOPINTOAPHOTOSTUDIO WHICHWASTOACTASAMEETINGPLACEFORTHENEIGHBOURHOOD OR ATLEASTTHATWASTHEIDEA4AKINGPHOTOGRAPHSWASAWAYFOR

(ENDERIKSS AND ,EENAARSS UNDERTAKINGS ARE STRONGLY REMI NISCENTOFTHEARTWORKOF4IRAVANIJAANDTHE#ULTUREIN!CTION ARTISTS)NBOTHCASES ITINVOLVESMEETINGS WHETHERTRANSIENT FLEETING AND WITHIN THE CONTEXT OF ART OR FOR LONGER STANDING PERIODS MOREPURPOSEFULANDOUTSIDETHECONTEXTOFART4HERE ARE HOWEVER DISPARITIESBETWEEN(ENDERIKSSAND,EENAARSS RECENT INTERACTIONS AND THE ENCOUNTERS WHICH TOOK PLACE MORE THAN A DECADE AGO #OMPARED TO THEIR PREDECESSORS (ENDERIKSS AND ,EENAARSS ENDEAVOURS TO MEET SEEM LESS CONSTRAINED THEAUDIENCELESSHEDGEDINBYTHECONDITIONSSET BYTHEARTIST WITHMORESPACETOBEITSELF4HEDESIREFORINTIM ACY LESS OBLIGATORY THE SOCIAL INVOLVEMENT LESS HASTY THEIR APPROACH MORE NORMAL SIMPLER MORE PERSONAL MORE BASAL )TISDIFFICULTTOSTILLBEABLETOMAKEOUTTHETWODIFFERENTOFF SHOOTSINTHEARTOFENCOUNTER ONEHIGHLYPERSONAL ONEPURELY

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Good Intentions

ACTIVIST)NEACHANDEVERYCASE INTIMACYISAPREREQUISITEFOR DISTINCTSOCIALENGAGEMENT *UDGINGTHEARTOFENCOUNTERHASNTEXACTLYBECOMEEASIER ASARESULTOFTHISRECENTDEVELOPMENT7ECANJUDGEPURPOSIVE SOCIALACTIONSBYTHEMEASUREOFTHEIREFFECTIVENESS BUTWHAT IFTRUST INTIMACY FRIENDSHIPANDEVENLOVEAREINPLAY7HAT IS MEANT BY THIS KIND OF ARTIFICIAL LOYALTY FRIENDSHIP INTIMACY AND LOVE !RE THEY A PREREQUISITE FOR OR AN OBJECTIVE OF AN ENCOUNTER#ANFRIENDSHIPBEANAESTHETICALEXPERIENCE#AN INTIMACYENTICEANDMOBILIZEPEOPLE ANDTOWHATEND#ANART EFFECTLOVE ANDUSEITTOITSADVANTAGE#ANARTEVENINTERFERE WITHTHEDEEPESTSTIRRINGSOFTHESOUL


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4HERE IS A LOT OF CONFUSION WITHIN THE DISCUSSION ABOUT INT IMACY ESPECIALLYABOUTINTIMACYASANARTFORM!SITTURNSOUT THEINSIGHTSOFPHILOSOPHER#ORNELIS6ERHOEVENINTHEACTIVIST SEVENTIESARESTILLSURPRISINGLYRELEVANTTOOURTIMES!CCORDING TO6ERHOEVEN HEOFTENWITNESSED|ASSAULTSONINTIMACY|TAKING PLACE (OWEVER 6ERHOEVEN WAS NOT REFERRING TO AN INVASION OFOURPRIVACYBYTHEGOVERNMENT INDUSTRY THEMEDIAORTHE PUBLIC.ORWASHEREFERRINGTOAVIOLATIONOFOURALLEGEDRIGHT TO INTIMACY !FTER ALL ACCORDING TO 6ERHOEVEN YOU CAN ONLY LAYCLAIMTOSPECIFICTHINGSITISIMPOSSIBLETOLAYCLAIMTOTHE UNCONTROLLABLE SUCHASLOVE FRIENDSHIPORINTIMACY 6ERHOEVEN FOCUSES HIS CRITICISM MAINLY ON @THE TENDENCY TOENDEAVOUR BYTAKINGANACTIVESTAND TORAISETHEINTIMATE AND THE FUNDAMENTAL TO AN ACTIVE RATIONAL AND PUBLISHABLE ZONEOFEXISTENCE 22@7ITHINTHESPHEREOFINTIMACY HEGOES ON TO EXPLAIN @TALKING LISTENING AND ACKNOWLEDGING ARE THE HIGHESTIMAGINABLEFORMSOFACTIVITY!NYTHINGELSEAMOUNTSTO ANACTIONWHICH BYITSOWNNATURE ISANASSAULTONINTIMACY BY PRESENTINGITSELFASARIGHT CHOICEORPOSSESSION)TISPOSSI BLE HOWEVER TO@SHAREINANINTIMACYWHICHOCCURSINAPASSIVE ZONEOFEXISTENCEINWHICHONEDOESNOTPRODUCEONESELF BUT RATHERFINDSONESELFINASTATEOFDEPENDENCY)NOTHERWORDS WEOFTENIMAGINETAKINGONANACTIVEROLEINMATTERSWHICHCAN INEFFECTONLYBEEXPERIENCEDPASSIVELYINTIMACY FRIENDSHIP LOVE HAPPINESS 6ERHOEVENISSCEPTICALOFWESTERNCULTURESACTIVISTNATURE WHICHTAKESADIMVIEWOFPASSIVITY!CCORDINGTO6ERHOEVEN PASSIVITYISTHEBIGGESTTABOOINOURSOCIETY 23MAKINGITPRACTI CALLYINCONCEIVABLETHAT@INTHERELATIONSHIPBETWEENMANAND THEWORLD PURELYPASSIVEOBSERVATIONOR ATTHEVERYMOST CON SIDERATIONOFPOSSIBLEACTION COULDPLAYAFARGREATERROLETHAN ACTIVE INCITING ACTIVITY 24 6ERHOEVEN SUBSEQUENTLY DEFINED A CONTEMPLATIVEORPASSIVEDISPOSITIONAS@ADEFERMENTOFACTION ASARESULTOFASENSEOFMARVELORINCAPACITY25

4HE RELATION WITH ART IS CLEAR !RT DEPENDS ON MARVEL AND A SENSE OF MARVEL SUSPENDS FURTHER ACTION )T IS ARTS PASSIVITY WHICHMAKESARTFREEFROMINTERFERENCE ANDWHICHISCENTRALTO THEAUTONOMYOFART3TILL 6ERHOEVENHADLITTLEFAITHINART/N ADESPONDENTNOTE HECONCLUDED@4HEAESTHETICSOFOURTIME HAVEBEENCORRUPTEDBYANIDEOLOGYOFACTIONALLTOOOFTENTO BEATRUSTWORTHYALLYINTRYINGTOPROTECTINTIMACY!CCORDING TO 6ERHOEVEN AS SOON AS THE ARTISTS TRY TO BRING ABOUT INT IMACY WITH THEIR ARTWORK THEN THE INTIMACY TRANSFORMS @FROM SOMETHINGEXISTINGATTHEHEARTOFYOURINNERBEINGINTHELITERAL SENSE INTO SOMETHING TAKEN OUT OF ITS NORMAL ENVIRONMENT LIKEAFISHOUTOFWATERFROMTHENON ITHASBECOMEAPUBLIC MATTER ANDCOMPLETELYIMMUNETOINTIMACY26 3O DOES WHAT 6ERHOEVEN SAY MAKE SENSE )S HE RIGHT IN SAYING THAT IN THEIR ATTEMPT TO CREATE INTIMACY BY PROGRAM MINGMEETINGS ARTISTSAREACTUALLYVIOLATINGINTIMACY$OTHEY ACTUALLYUNDERESTIMATETHEIMPORTANCEOFTHEPASSIVEZONEOF LIFE)FSO THENACCORDINGTO6ERHOEVENSLINEOFTHOUGHT THEIR ENDEAVOURSAREBOTHVIOLENTANDDOOMEDTOFAILURE )TISTRUETHATINTHES THEARTOFENCOUNTERWASINTER LAR DEDWITHACTIVISTRHETORIC)TWASALLABOUTMOBILISATION PARTICI PATION WHETHERITINVOLVEDLOW KEYLOUNGINGORPROJECTSONA MOREAMBITIOUSSCALE/VERANDOVERAGAIN ARTISTSHAMMERED AWAYATTHEIDEATHATTHEAUDIENCENEEDEDPRODDING NEEDED TOBEFREEDFROMITSAPATHY&ROMTHEIRLIPS PASSIVITYSOUNDED LIKESOMETHINGDIRTY)NTHESAMEBREATH THEYARGUEDTHATTHE ARTWORLD MUSEUMSINPARTICULAR DIDLITTLEMORETHANRECONFIRM THEPUBLICSCONSUMERSTATUS)TWASTIMETOAWAKENTHEPUBLIC FROMITSSLUMBER4HISARTFORMTHEREFORESEEMEDTOSHAREINTHE PREVAILINGCONTEMPTFORPASSIVITY TOITSOWNDETRIMENT

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"UTLETSNOTGETTOOCARRIEDAWAYBY6ERHOEVENSAPT THOUGH SOMEWHATQUIRKYANALYSIS"YNOMEANSALLOFTHEENCOUNTERS CORRESPONDTOHISSTEREOTYPEOFACTIVISM!DMITTEDLY THEPUBLIC HADTOCROSSATHRESHOLD TOUNDERTAKEACTIONINORDERTOALLOW

Good Intentions


THEENCOUNTER!PLEASANTATMOSPHEREORANOBLECAUSECOULD HELPTHINGSALONG!FTERHAVINGTAKENTHEFIRSTSTEP THERECOULD EASILYBEROOMFORPASSIVITY FORMARVEL.ATURALLY SUCCESSALSO DEPENDEDONTHEREADINESSOFTHOSEINVOLVEDTOADOPTARECEP TIVEATTITUDE TOWONDERWHATWASGOINGTOHAPPENNEXT4HE LESSTHEARTISTINTERFEREDWITHTHEMEETINGSPROCEEDINGS THE MOREROOMTHEREWASFORWHATPRESENTEDITSELF4HEDANGERTHAT AMEETINGCOULDSPINOUTOFCONTROLWASARISKTHATSOMEARTISTS SUCHAS4IRAVANIJA WEREWILLINGTOTAKE(EWOULDSOONERTAKE THATRISKTHANMOULDTHEFRESH@PASSIVEZONETOHISWILL"UTIT COULDALSOHAPPENTHATTHEARTISTTOOKONTHEROLEOFBEWILDERED PARTICIPANT ASWASTHECASEWITH2ENÏE+OOLSWORKSHOPAT THE 3TRASBURG ART ACADEMY IN )N THE CAPACITY OF GUEST TUTOR +OOLALLOWEDHERSELFTOLEARNFROMHERSTUDENTS!MONG OTHERTHINGS SHELEARNTHOWTOTANGOANDWASTAUGHTTHETRICK OF HOW TO BREAK A SUGAR CUBE IN HALF WITH YOUR FINGERS 4HE FILM THAT SHE MADE DOCUMENTS HER SENSE OF MARVEL AND THE PLEASURESHEFOUNDINLEARNINGSOMETHING 3UREENOUGH ARTISTSSTARTEDTO@PROGRAMINTIMACY BUTBYNO MEANS DID THIS AUTOMATICALLY LEAD TO THE PROVERBIAL @FISH OUT OFWATER"YSCREENINGOFFTHEINTIMACY ITWASASIFTHEYWERE TAKING6ERHOEVENSADMONISHMENTTOHEART3UCHAN+INOSHITA WENT TO EXTREME LENGTHS 4HOSE WHO REGISTERED AT HER TRAVEL AGENCYIN STOODTHECHANCEOFWINNINGA HOURTRIPTO ANUNKNOWNDESTINATIONINTHECOMPANYOFTHEARTIST4HEREWAS NOPLANORSCHEDULE+INOSHITASTRAVELCOMPANIONHADTOAGREE NOT TO REVEAL ANY INFORMATION ABOUT THE TRIP +INOSHITA WENT ONTHETRIPATOTALOFFIVETIMES WITHOUTDISCLOSINGANYDETAILS ABOUTTHESHAREDINTIMACYBETWEENTHEARTISTANDTRAVELCOM PANION ATLEASTNOTWITHINTHEARTWORLD4HEEXCLUSIVITYAND OFCOURSE THEFACTTHATTHEENCOUNTERHADNOTBEENPLANNED BEFOREHAND WERETOGUARANTEETHEENCOUNTERSAUTHENTICITY (OWCOMPLETELYDIFFERENTWAS!LICIA&RAMISSWORK WHOIS GENERALLYCONSIDEREDTOBEANEXPONENTOFTHEINTIMATEOFFSHOOT

OFTHEARTOFENCOUNTER)NSHEGAINEDGENERALRECOGNITION BY PERFORMING THE ROLE OF $REAMKEEPER DURING A NUMBER OF NIGHTWATCHESINTHEHOMESOFVOLUNTEERS KEEPINGWATCHOVER HERHOSTATTHEFOOTOFTHEBED3HEREFUSEDTODISCUSSWHAT HADHAPPENEDORWASSAIDDURINGTHEENCOUNTER.EVERTHELESS &RAMISHADAPRECONCEIVEDPLAN ANDSHEMADENOATTEMPTSTO DISGUISEIT4HENIGHTLYENCOUNTERSWEREPARTOFABIGGERPRO JECT ,ONELINESSINTHE#ITY"YSPENDINGTHENIGHTWITHPEOPLE &RAMISSAID SHEWANTEDTOOFFERAREMEDYFORTHELONELINESS OF THE CITY DWELLERS $RESSED FOR THE OCCASION SHE SWATHED HERSELFINANANGELICWHITEGOWN SEEMINGLYAPPOINTINGHERSELF THEROLEOFABENEVOLENT&LORENCE.IGHTINGALE2ATHERTHANCON STITUTINGANENCOUNTER $REAMKEEPERRESEMBLEDASUGGESTION ORMODELOFANENCOUNTER&RAMISBECAMEPROFICIENTINAPPEA LINGTOTHE@PASSIVEZONEOFLIFE WITHOUTACTUALLYPUTTINGITTO THETEST -ANY ARTISTS HAVE APPLIED THEMSELVES TO THESE KINDS OF PSEUDO MEETINGS APPEALINGTOANDSUGGESTINGINTIMACY CRE ATING AS 2UTGER 0ONTZEN PUT IT @WELCOME INTIMACY WHICH USUALLY BOILED DOWN TO CREATING A NICE AMBIANCE 0ONTZEN @) AM REFERRING TO ACTIVE ATTEMPTS TO MAKE A SMALL GROUP OF PEOPLEFEELEXTREMELYCOMFORTABLE7HYSHOULDNTTHEY27"UT 0ONTZENS RHETORICAL QUESTION IS A STRIKING ILLUSTRATION OF THE NONCOMMITTAL SPECIFICITY OF THESE KINDS OF ENCOUNTERS 4HIS GENREOFENCOUNTERSCANBEMEASUREDBYTHEDEGREEINWHICH ITMANAGESTOCREATEAWELCOMEFEELINGOFINTIMACYAMONGTHE PARTICIPANTSnNOTAVERYEXCITINGCRITERIONINJUDGINGTHEARTOF ENCOUNTER7EWILL THEREFORE HERELEAVEASIDETHISGENREWITHIN THEARTOFENCOUNTER

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.OR DOES 6ERHOEVENS ADMONISHMENT @A FISH OUT OF WATER ALWAYSHOLDFORENCOUNTERSWITHANOBLESOCIALCAUSE4OBE SURE INTHISARTFORMACTIVISTRHETORICPLAYEDAFARGREATERROLE THANINITSSMALLER INTIMATECOUNTERPARTSAVINGLIVESWASMORE IMPORTANTTHANENRICHINGLIVES WASACOMMONSOUNDAT#ULTURE

Good Intentions


IN!CTION(OWEVER THEREWASROOMFOR6ERHOEVENSPASSIVITY !ND THAT DIDNT GO UNNOTICED EVEN THOUGH IT WAS SEEN AS A POINTOFNEGATIVECRITICISMATFIRST !CCORDING TO ART CRITIC 'RANT +ESTER SOCIALLY ENGAGED ART INGENERAL ANDTHEPROJECT#ULTUREIN!CTIONINPARTICULAR WERE GUILTY OF @AESTHETICAL EVANGELICALISM28 4HE TERM SEEMED TO HIT THE MARK GIVEN THAT IN #ULTURE IN !CTION MENTAL CHANGE WAS THE KEY TO IMPROVING THE PARTICIPANTSS POSITION WITHIN THECOMMUNITYANDINSOCIETY)NVITINGINDIVIDUALSFROMFRINGE GROUPSTOACTIVELYPARTICIPATEINTHEARTISTICPROCESS #ULTUREIN !CTIONBELIEVED WOULDFREETHEMOFTHEIRFEELINGOFDEJECTION !NIDEOLOGYWHICH ACCORDINGTO+ESTER WASACONFORMATION OFTHEIDEATHATPEOPLEONLYHADTHEMSELVESTOBLAMEFORTHEIR MARGINALPOSITIONINSOCIETY ANDTHATTHEYCOULDWRESTTHEM SELVESFROMTHISPOSITIONBYADOPTINGADIFFERENTATTITUDE!ND ALLTHISCOULDBEBROUGHTABOUTBYART (OWEVER ARTHISTORIAN-IWON+WONHASARGUEDTHAT+ESTER HASDONE#ULTUREIN!CTIONWRONG%VERYNOWANDTHEN APRO JECTDIDEFFECTAPERSONAL ETHICALTRANSFORMATIONAMONGPAR TICIPANTS WHICH COULD NOT BE BRUSHED ASIDE AS PATERNALISTIC @AESTHETICEVANGELICALISM4OGETHERWITHFIFTEENSTREETCHILDREN INA,ATINONEIGHBOURHOODIN#HICAGO ARTIST)×IGO-ANGLANO /VALLE FOR EXAMPLE SET UP A VIDEO WORKSHOP 9OUNGSTERS COULDDOCUMENTTHEIROWNLIVESINTHEIROWNWAY7HEN#ULTURE IN!CTIONWASOVER THEARTISTCONTINUEDTODEVOTEHIMSELFTOTHE COLLECTIVE)N ITWASSTILLRUNNINGUNDERTHENAME3TREET ,EVEL9OUTH-EDIA+WONHASSTRESSEDHOWMUCHTHEPROJECTS SUCCESS DEPENDED ON THE READINESS OF ALL THOSE INVOLVED TO SPEND TIME TOGETHER FOR SUCH A LONG PERIOD29 )T WAS EXTRE MELYIMPORTANTTHATTHEARTISTLIVEDINTHESAMENEIGHBOURHOOD KNEWTHERESIDENTSWELL ANDSHAREDTHESAMEHISTORY!NDTHAT THEARTISTWASWILLINGTOSPENDTIMEWITHTHECOLLECTIVEDAYIN DAY OUT FOR WEEKS MONTHS YEARS PAST THE PROJECTS OFFICIAL CLOSINGDATE!LOTOFCIRCUMSTANCESWERECOMPLETELYBEYOND THEARTISTSCONTROL ASTHEYWERETHECOLLECTIVES!NOBLECAUSE

SERVEDASACATALYST!FTERWARDS ITBECAMEANEXERCISEINLOY ALTY ANDFRIENDSHIP ANDINQUISITIVENESS ANDPERSEVERANCE

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!NADVENTUREWHICHARTCRITICS TODATE HAVENTREALLYACKNOW LEDGED 4HE QUESTION WHICH ROLE LOYALTY FRIENDSHIP AND PER SEVERANCEPLAYSINTHEARTOFENCOUNTER ISAQUESTIONMOSTART CRITICSPREFERNOTTOADDRESS)TCOULDBETHAT LIKE6ERHOEVEN THEYAREOFTHEOPINIONTHATMORALDISPOSITIONSSUCHASTHESE ARE INTIMATE AND THAT THEY SHOULD THEREFORE LEAVE THEM WELL ALONE"UTARTCRITICISMHASNEVERREALLYVOICEDSUCHCONCERN )TISMYOPINIONTHATARTCRITICSPREFERTOSTEERWELLCLEAROFTHE PROBLEMREGARDINGTHEROLEOFMORALVALUESINTHEARTOFENCOUN TERBECAUSEEVENRAISINGTHEISSUEWOULDSUGGESTTHATARTISTS CANENTERTHEFIELDOFMORALITYINTHEIRARTWORK4HISISTAKING ITASTEPTOOFAR EVENFORTHOSEARTCRITICSWHOAREFAVOURABLY DISPOSEDTOWARDSMEETING SUCHAS2UTGER0ONTZEN(ISREADI NESSSTRETCHESONLYSOFARASTHEENCOUNTERSHAVEANINFORMAL @FEELGOODCHARACTER!NDEVENTHOSEWHOFEELLESSHESITANT ABOUT ARTISTS OPERATING WITHIN THE FIELD OF MORALITY SUCH AS 3VEN ,àTTICKEN HOLD ONTO THE NOTIONAL DISTINCTION BETWEEN INTIMACYANDENGAGEMENT,àTTICKENPREFERSTOCONCENTRATEON @EXPLICITLYPOLITICALORSOCIALENGAGEMENT RATHERTHANRELATIONAL AESTHETICS@FEEL GOODIDEOLOGY 30THEREFORERESTRICTINGHISEXA MINATIONTOTHEISSUEWHETHERORNOTARTCANBRINGABOUTSOCIAL CHANGE ANDIFSO INWHATWAY"UTTHEARTISTSWHOENDEAVOUR TOMEET MAKENODISTINCTIONBETWEENINTIMACYANDCOMMIT MENT INSTEADMAKINGMORALDISPOSITIONSTHEVEHICLEOFTHEIRART nSOIT|STIMEFORUSTOACKNOWLEDGETHEFACTSANDSTOPBEATING ABOUTTHEBUSH

Good Intentions

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!RTISFREEFROMMORALITY ORSOWEAREOFTENTOLD7ORKSOFART CANBEJUDGEDGOODORBAD BUTSUCHCLASSIFICATIONSUSUALLY DONOTIMPLYAMORALVALUEJUDGMENT@!RTHASBEENRELEGATED TOIMAGERY IMAGINATIONANDILLUSTRATION ATTHESAMETIMEMAP PINGOUTHERIMPOTENCEINREGARDTOREALLIFE ARTIST133ERAFIJN STATED31)NOTHERWORDSSOLONGASARTSTICKSTOHERSPECIALTY REPRESENTATION THENMORALITYISNOTANISSUE2EPRESENTATIONS INANYFORMWHATSOEVER AREPOWERLESSANDCANNOTTHEREFOREBE HELDRESPONSIBLEFORTHEIRUNDERTAKINGS 3ERAFIJNARGUES7HICH MAKESARTFREE PLACINGHER@BEYONDGOODANDEVIL !SACONSEQUENCE ITISNOTCUSTOMARYTOIDENTIFYTHEARTIST WITHHISORHERARTWORK*USTASAWRITERSHOULDNOTBEJUDGED BYTHEBEHAVIOUROFTHEMAINCHARACTERINHISORHERNOVEL SO THEARTISTSDISPOSITIONSHOULDNOTBEMEASUREDBYTHETHEMES INHISORHERWORK0HILOSOPHER2OBVAN'ERWENHASARGUED THATEVENWHENITSHARDTODRAWADISTINCTION ASISTHECASE WITHPERFORMANCEARTFOREXAMPLE WESTILLDISTINGUISHBETWEEN THEARTISTASAPERSONANDTHEARTISTASA@PERSONA7EGENE RALLYREGARDTHELATTERTOBEMORALLYEXEMPT MAKINGTHEPERSON INQUESTIONFREEOFRESPONSIBILITY!GOODEXAMPLE ACCORDING TO6AN'ERWEN ISTHEFAMOUSINCIDENTOF-ARINA!BRAMOVICS PERFORMANCE2HYTHMIN INWHICH!BRAMOVICLAYDOWN NAKEDINACIRCLEOFFIREINFRONTOFANAUDIENCE5NFORTUNATELY HOWEVER SHESTARTEDTOSUFFERFROMLACKOFOXYGEN ANDWAS TOOWEAKTOGETUPAGAIN!BRAMOVICWASCHOKINGTODEATH YET NOBODYSTEPPEDIN!DOCTORINTHEAUDIENCESAVED!BRAMOVICS LIFEONLYINTHENICKOFTIME6AN'ERWEN@)NSAVINGTHEPERSON !BRAMOVIC HEHADTODESTROYHERARTISTIC@PERSONA4HEDOCTOR PERFORMEDAMORALACTTODOSO HEHADTOCASTOFFHISAESTHETIC POSITIONASAVIEWEROFART32!CLEARPROOF SAYS6AN'ERWEN OFOURTENDENCYTODISTINGUISHBETWEENTWODOMAINS ORRATHER BETWEENTWODISPOSITIONSTOGETHER ARTISTANDAUDIENCESWITCH OVER CROSSOVERFROMONEDISPOSITIONTOANOTHER FROMMORAL RESPONSIBILITY TO MORAL EXEMPTION FROM PERSON TO @PERSONA %VEN IF THE ARTISTS PERFORMANCE SO CLOSELY RESEMBLES REALITY 35

Good Intentions


THATITISALMOSTIMPOSSIBLETOMAKEADISTINCTION STILLTHEMORAL EXEMPTIONREMAINSINEFFECT4HENTHEARTISTCANBRINGHARMTO HIMSELFWITHOUTANYONESTEPPINGIN ASTHE!BRAMOVICINCIDENT ILLUSTRATES4HENANAKED/LEG+ULIKCANBITEUNSUSPECTINGPAS SERS BYINTHEIRSHINS LIKEARABIDDOG WITHOUTBEINGARRESTED /RTOGIVEAMORECHEERFULEXAMPLE THEN*OSEPH"EUYSCAN CALLFORDEMOCRATIZINGACTIONUSINGPOIGNANTSYMBOLS WITHOUT BEINGTAKENSERIOUSLY "UTTHESIMPLEFACTTHATALARGENUMBEROFPEOPLEDIDTAKE "EUYSS APPEAL SERIOUSLY DREW THEIR OWN MORAL CONCLUSIONS ANDGAVESHAPETOHISAPPEAL EACHINTHEIROWNWAY SUGGESTS THATTHEDISTINCTIONBETWEENAMORALANDANARTISTICDOMAIN OR THESWITCHFROMAPERSONTOAPERSONA DOESNOTALWAYSHOLD TRUE/FCOURSEWECANNOTHOLDREPRESENTATIONSnALLTHOSEIMA GES SCULPTURES INSTALLATIONS TEXTS CONCEPTSANDPERFORMAN CESWHICHREPRESENTSOMETHINGnRESPONSIBLEFORTHEIRMORAL CONSEQUENCES AS 3ERAFIJN RIGHTLY REMARKS BUT THAT DOESNT NECESSARILYMEANTHATARTHASNOMORALPOWER)TISEQUALLYTRUE AS 3ERAFIJN HAS DEMONSTRATED THAT WE AUTOMATICALLY CHANGE OURDISPOSITIONTHEMOMENTWEARECONFRONTEDWITHANARTISTIC PERFORMANCE(OWEVER NOTEVERYVIEWERISREADYTOMAKETHE SWITCH 0OLITICALORRELIGIOUSFANATICS FOREXAMPLE OFTENLIKETOTAKE POKESATTHEDISTINCTIONBETWEENARTANDMORALITY)NTHEIRVIEW ANYFORMOFARTTHATREPRESENTSUNWHOLESOMEMATTERSISINHE RENTLYPERNICIOUS334HEIRDISAPPROVALPEOPLEGENERALLYACCEPT THEYEVENTENDTOSHOWCOMPASSIONFORTHEIRHURTFEELINGS!RT ISNT COMPLETELY INDEPENDENT BUT WHATS IMPORTANT IS THAT IT USUALLY DOES NOT RESULT IN THE ART WORKS BEING VANDALIZED OR ARTISTS BEING THREATENED OR THEIR LIFES ENDANGERED 2ECENTLY HOWEVER 6AN'ERWENSOUNDEDTHEALARM WARNINGABOUTTAM PERINGWITHARTSMORALEXEMPTION!CCORDINGTO6AN'ERWEN EVENSOMEEXPERTSINTHEFIELDOFAESTHETICSARENOTENTIRELYFREE OFBLAME EXPOUNDINGTHEIDEATHATARTWHICHDEPICTSREPREHEN SIBLEBEHAVIOUR ISAESTHETICALLYREPREHENSIBLE6AN'ERWENHAS

ALERTEDUSTOTHEFACTTHATANIMPORTANTATTAINMENTISINCREASIN GLYUNDERPRESSUREARTSPOWERTOLETUSEXPERIENCESOMETHING WITHOUTHAVINGTORESPONDINANACTIVEMANNER34

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6AN'ERWENAND3ERAFIJNRIGHTLYCONTENDEDTHATITISTHROUGH WORKS OF ART AND ARTISTS THAT WE OFTEN ENJOY EXPERIENCES OR UNDERGOFEELINGS ORCOMETO NEWIDEAS 7E SHOULD BEABLE TOUNDERGOTHESEEXPERIENCESWITHOUTDISTURBANCEORINTERFE RENCE EVENIFWEFINDTHEMOFFENSIVE)NSOFARASTHEREADINESS TOSUSPENDACTIONISCONCERNED ARTWORKANDARTISTENJOYTHE PRIVILEGEOFEXISTINGBEYONDTHEREALMOFNORMALEVERYDAYRES PONSIBILITIES 'RANTED ATTIMESARTISTSREADILYTAKEADVANTAGEOFTHISPRI VILEGE PLAYING THE HOLY INNOCENT IF THEIR LACK OF APPRECIATION OF THIS PRIVILEGE CAUSES A COMMOTION 4HE !MSTERDAM #ITY #OUNCIL FOREXAMPLE DESCRIBEDAPROJECTBY-ARTIJN%NGELBREGT AS@INAPPROPRIATE)N$ECEMBER %NGELBREGTDISTRIBUTED A SURVEY AMONG HOUSEHOLDS IN !MSTERDAM WHICH GAVE THE IMPRESSIONTHATTHEGOVERNMENTWASCALLINGONPEOPLETOTURN INILLEGALIMMIGRANTS)TSTIRREDUPALOTOFFUSS THEREASONBEING THATFORALOTOFPEOPLEITWASNTCLEARTHATITWASART35%NGELBREGT HADTOJUSTIFYHISACTIONSINNUMEROUSPUBLICDEBATESANDMAKE HISAPOLOGIES (OWEVER THERE ARE ARTISTS FOR WHOM IT IS NOT ABOUT CROS SING THE IMAGINARY BOUNDARY BETWEEN THE MORAL AND ARTISTIC DOMAIN&ORTHEM THEBOUNDARYDOESNOTEVENEXIST.ORDO THEYSTRIVETOENSUETHATTHEYANDTHEVIEWERSWITCHBETWEEN PERSONAND@PERSONA&ORTHESEARTISTS ARTDOESNOTEXISTINA REALMBEYONDMORALITY)TISTHESEARTISTS ALBEITFEWINNUMBER WHOAPPLYTHEMSELVESTOTHEARTOFENCOUNTER 4HE CONCEPT OF MORALITY HAS SEVERAL SHADES OF MEANING )T REFERSTOAPEREMPTORYSYSTEMOFRULESREGARDINGGOODANDEVIL WHICH ARE IMPLICITLY OR EXPLICITLY BESTOWED OR IMPOSED UPON PEOPLE)TALSOREFERSTOMANSBEHAVIOURWITHREGARDSTOTHESE

Good Intentions


RULES)NADDITION AS-ICHEL&OUCAULTDEMONSTRATED 36MORA LITYPOINTSTOTHEMANNERINWHICHWEPAYHEEDTOTHEQUALITY OF OUR MORAL BEHAVIOUR IN EVERYDAY LIFE /THER PHILOSOPHERS BESIDES &OUCAULT INCLUDING )LSE "ULHOF -ICHEL DE #ERTEAU !LASDAIR-AC)NTYREAND-ARTHA.USSBAUM HAVEALSOCONTEM PLATED THIS ASPECT OF MORALITY 4HEY SHARE A FASCINATION FOR MANSPREDILECTIONTOSTRIVEFORTHEBEST ANDONADAILYBASIS NOTJUSTWHENATRICKYPROBLEMORDELICATESITUATIONARISES)T ISAPERSONALDISPOSITIONINWHICHTHEFOCUSISONTHEETHICAL QUALITYOFOURDAILYLIVES3UBSEQUENTLY THEWAYINWHICHYOU DOSOMETHING ISJUSTASIMPORTANTASWHATYOUDO7ITHTHIS VIEW THESEPHILOSOPHERSHAVEGIVENCLASSICALVIRTUEETHICSA NEWDIMENSION 4HESE PHILOSOPHICAL VIEWS ARE INSTRUMENTAL TO THE DIS COURSEONTHEARTOFENCOUNTER SINCETHEYDRAWINTHEQUALITY OFTHEPRESENTATION4HEMANNERINWHICHSOMEONEPRESENTS HIMSELF HASAQUALITYOFITSOWN7ECANEXPERIENCETHEQUALITY OFTHEPRESENTATIONWECANSEEITANDHEARIT ANDPERHAPSEVEN FEEL IT 7E CAN TRY TO MAKE A QUALITATIVE DISTINCTION BETWEEN THEVARIOUSWAYSINWHICHPOSITIONSAREPRESENTED!NDTHATIS NICELYINKEEPINGWITHWHATSHAPPENINGINTHEARTOFENCOUNTER )NTHEARTOFENCOUNTER THEREARENOOBJECTS CONCEPTSORPER FORMANCES7EHAVETOMAKEDOWITHWHATTHOSEINVOLVEDPRE SENTUSWITHTHENANDTHEREATTHEMEETING OR@MAKEPRESENT TOQUOTEPHILOSOPHER)LSE"ULHOF/NAVISIBLEANDPERCEPTIBLE LEVELOFMEETINGnTHELEVELOFPRESENTATION NOTREPRESENTATION n6AN'ERWENSDISTINCTIONBETWEENAPERSONANDA@PERSONA OR3ERAFIJNSDIVISIONBETWEENAMORALANDANARTISTICDOMAIN SEEMLESSRELEVANT EVENUNTENABLE 4HISOPENSUPNEWPERSPECTIVES.OLONGERDOWEHAVETO FIXATEnTONOAVAILnONANIMAGINARYDIVIDINGLINEBETWEENART ANDMORALITY!NDTHEQUESTIONWHETHERMORALDISPOSITIONSCAN BEART ISIMMATERIAL)TALLREVOLVESAROUNDWHATISPRESENTED IN THE ART OF ENCOUNTER AND HOW TO JUDGE THE PRESENTATION .OTTHATTHEARTOFENCOUNTERISANILLUSTRATIONOFPHILOSOPHICAL

ETHICS AND VICE VERSA .OR HAVE PHILOSOPHERS PRESENTED US WITH AN INSTANT TOUCHSTONE BY WHICH WE CAN JUDGE THIS ART FORM LETALONEALISTOFCRITERIATHATARTCRITICSCANAPPLYDIRECTLY 0HILOSOPHERSANDARTISTSGENERALLYLIVEINAWORLDUNTOTHEM SELVES.EVERTHELESS ANUMBEROFVIEWSWITHINPHILOSOPHICAL ETHICSCANBEINSTRUMENTALTODEVELOPINGANALTERNATIVEVIEWOF THE@WHATAND@HOWOFTHEARTOFENCOUNTER

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4AKINGAMORALDISPOSITIONINHANDPRESUPPOSESTHEFREEDOM TO DO SO 4HE QUESTION IS HOW MUCH ROOM FOR MANOEUVRING PEOPLEHAVE-ICHELDE#ERTEAUSCONTRIBUTIONTOTHISPROBLEM ISNOTEWORTHY)NHISESSAYS FIRSTPUBLISHEDINACOLLECTIONTITLED !RTSDEFAIREIN FORMER*ESUITANDHOMOUNIVERSALIS$E #ERTEAU EXAMINES SUCH ISSUES AS @WAYS IN WHICH USERS PRO CEED374HEWAYINWHICHWEUSERECIPES HOUSEHOLDAPPLIAN CESORPUBLICROADS ORAPPLYRULESOFCONDUCT ISNOTALWAYSIN LINEWITHWHATWEARESUPPOSEDTODO7EAREWONTTOINTERPRET PRESCRIBEDPROCEDURESASWEWILL GENTLYBENDINGTHEMTOOUR WILL!TFIRST $E#ERTEAUTOOKUPANEUTRALPOSITIONINHISEXA MINATIONOFFORMSOFAPPROPRIATION)NKEEPINGWITHSTRUCTURAL PHILOSOPHYOFTHEEARLYS HELOOKEDFORSTRUCTURESINEVE RYDAYPRACTICESOFAPPROPRIATION)NLATERRESEARCH HEFOCUSED MOREONTHEETHICALEFFECTSOFTHESEPRACTICES LABELLINGTHEM AN ANCIENT ART FORM !N ART FORM WHICH IN HIS VIEW FORMS AN ANALOGY WITH THE TACTICS USED BY FISH PLANTS AND INSECTS TO SURVIVEANDTOAPPROPRIATETHENEWENVIRONMENTINWHICHTHEY FINDTHEMSELVES384HESAMEAPPLIESTOHUMANBEINGSFREEDOM MANIFESTSITSELFINTACTICALINTERPRETATION HOWEVERMARGINAL$E #ERTEAUEXAMINESHOWWEGIVEOURLIVESDIRECTIONUSINGTHIS MARGINALFREEDOM -EETINGS FOLLOW SET PATTERNS WE ARE ALL AWARE OF THEIR UNWRITTEN PRESCRIPTS )N DAILY LIFE WE ALLOW OURSELVES A MAR GINALFREEDOMTOINTERPRETTHESEPRESCRIPTSADROITLY TOAPPRO PRIATE THEM TAKE ADVANTAGE OF THEM PLAY ABOUT WITH THEM TOCHANGETHEMSLIGHTLY0ERHAPSWECOULDSAYTHATTHEARTOF ENCOUNTERISASTRATEGYFORCREATINGUNFORESEENLIBERTIESINART (OWEVER THEREISASNAGACCORDINGTO$E#ERTEAUSDEFINITION TACTICSARENOTSYNONYMOUSWITHASTRATEGYINSTEAD THEYARE CONSTANTLY CHANGING EVEN FOR THOSE WHO EMPLOY THEM 7E CANNOT MANIPULATE THEM !NY ATTEMPT TO ISOLATE THESE TAC TICSORTOUSETHEMSTRATEGICALLY IMMEDIATELYTAKESAWAYTHEIR UNFORESEEN MATTER OF COURSENATURE!NDITISPRECISELYINTHE UNFORESEEN THATFREEDOMEXISTS $E#ERTEAUARGUES 41

Good Intentions

7ECAN HOWEVER DEVELOPANEYEFORTHISKINDOFFREEDOM WECANPAYHEEDTOIT PREPAREOURSELVESFORSITUATIONSINWHICH THESE TACTICS MIGHT BE EMPLOYED )N HIS ESSAYS $E #ERTEAU HAS HIMSELF ATTEMPTED TO CONCENTRATE REFLECT AND MEDITATE UPONTHISKINDOFFREEDOM TOGETATASTEOFIT IFYOUWILL)NTHE SAME MANNER HE ALLUDES TO THE POSSIBILITY OF DEVELOPING AN ANTICIPATORY DISPOSITION WHICH HE HAS DUBBED @FAIRE AVEC 39 CONVEYINGTHATENCOUNTERSALWAYSYIELDUNFORESEENPRECONDI TIONSFORFREEDOM0RECONDITIONSWHICHCANNOTBECREATED DIC TATED DIRECTED(OWEVER WECANANTICIPATEANDCONTEMPLATE THESEPRECONDITIONS SOASTORECOGNIZETHEFREEDOMWHENIT MANIFESTSORPRESENTSITSELF SOASTOENJOYITANDMAKEUSEOF IT )TISTHIS@FAIREAVECTHATSOMEARTISTSINTHE.ETHERLANDSHAVE FOCUSED ON IN THEIR MEETINGS 7ALLY 7ALTER 3TEVENS 2OÏ #ERPACAND(ANS#HRISTIAAN+LASEMA4HEMEETINGSORGANIZED BYTHESEARTISTSARENOTHINGOUTOFTHEORDINARY7ALLY7ALTER 3TEVENSMEETSWITHFRIENDS ACQUAINTANCESANDSTRANGERSON ADAILYBASISATHOME ONTHESTREETSANDINTHESUPERMARKET 2OÏ #ERPAC HAS WEEKLY ONE ON ONE CONVERSATIONS WITH COL LEAGUESABOUTIDEAS PROJECTSANDEXHIBITIONS ABOUTTHEMEA NINGOFLIFE BUTALSOABOUTTHEWEATHER INFACTABOUTANYTHING WHICH SPRINGS TO MIND !ND (ANS #HRISTIAAN +LASEMA LIVES TOGETHERUNDERONEROOFWITHACOMPANIONWHOMHEISQUITE FONDOF3TEVENSDOESNOTBEHAVEANYDIFFERENTLYTHANUSUAL #ERPACDOESNTEMPLOYANYNOTABLECONVERSATIONTECHNIQUES +LASEMADOESTHEWASHING UPTOGETHERWITHHISCOMPANION JUSTLIKEANYBODYELSE/NTHESURFACE THEIRPROJECTSAREFRESH ATTEMPTSTOLEVELTHEALLEGEDGAPBETWEENARTANDLIFE"UTWITH $E#ERTEAUINMIND WECANBEGINTORECOGNIZEWHATITSREALLY ABOUTDEVELOPINGADISPOSITIONOF@FAIREAVEC


&OR3TEVENS EVERYENCOUNTERISPOTENTIALLYBOTHAPITFALLAND ASOURCEOFFREEDOM)NHISVIEW ANENCOUNTERISNEVER@NOR

MAL)NDEED FORTHOSEWHOAREATVARIANCEWITHTHESTANDARD @NORMAL IS NEVER MATTER OF COURSE AS 3TEVENS HIMSELF HAS EXPERIENCED)FDAYINDAYOUTYOUAREMADETOUNDERSTANDWELL ANDTRUETHATYOUARE@DIFFERENT THENTHERECOMESAMOMENT WHENYOURECOMPLETELYFED UPWITHALLTHESNIGGERINGINTHE TRAM PUBORSUPERMARKET4HENITSTEMPTINGTOACTOUTORTO CHECKYOURSELF INORDERTOPUTANENDTOALLTHEFUSS3TEVENS HOWEVERPREFERSNOTTOBELEDBYSOMEBODYELSESREACTION(E SIMPLYWANTSTOBEDIFFERENT&ORMORETHANTHIRTYYEARSNOW HE HASDEDICATEDHISARTISTICLIFETOCREATINGTHISKINDOFFREEDOM !TFIRST 3TEVENSMOSTLYADDRESSEDTHEISSUEOFHOWTOPORTRAY THISKINDOFFREEDOM,ATERON HESTARTEDTOFOCUSONHOWTO BEHAVEACCORDINGLY 3TEVENS OF$UTCH%AST )NDIANDESCENT GREWUPIN*AKARTA )N HEEMIGRATEDTOTHE.ETHERLANDS(ESTARTEDHISCAREER ASAFREELANCETYPOGRAPHERANDGRAPHICDESIGNER!TTHEBEGIN NINGOFTHES HESTARTEDTOTAKEPHOTOGRAPHSOFHIMSELF ASATRANSVESTITE3TEVENSSARTWORKGAINEDRECOGNITIONWHEN 7ILLEM DE 2IDDER PUBLISHED THE SELF PORTRAITS IN HIS FAMOUS MUSIC MAGAZINE !LOHA )N CURATOR 7IES 3MALS INVITED 3TEVENSTOCONTRIBUTETOAPHOTOEXHIBITIONANDPERFORMANCES ATCONTEMPORARYARTCENTRE$E!PPELIN!MSTERDAM3TEVENS APPEAREDBEFOREANAUDIENCEDRESSEDASASADOMASOCHISTIC HOMOSEXUAL!CCORDINGTO3TEVENS HISAIMWASNOTTOCAUSE OUTRAGE(ESIMPLYWANTEDTOBEDIFFERENT&ORTHEMOSTPART THE VIEWERS HOWEVER TOOK IT AS A SHAM PERFORMANCE BY AN ECCENTRIC GAY SO HE STOPPED PERFORMING 4HERE FOLLOWED A PERIOD IN WHICH HE TOOK PORTRAIT PHOTOGRAPHS OF OTHERS 4HE PORTRAITS WERE EXHIBITED AT THE !RNHEM -USEUM FOR -ODERN !RTIN 7ITHHISRECENTPROJECT%LKEDAGEENANTIPERFORMANCE%VERY $AY!N!NTI PERFORMANCE 3TEVENSHASTAKENANUNUS UALSTEP40!TTHEONSETOFTHEPROJECT WHICHLASTEDFORAYEAR HEMADEHISINTENTIONSKNOWNTOTHEPRESS3TEVENS@7HATS UNIQUEABOUTTHISPROJECT ISTHAT)DONTHAVETODOANYTHING

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DONTHAVETOMAKEANYTHINGALL)HAVETODOISBEMYSELF)N HISEXPOSÏ THEARTISTPOINTSOUTTHEFACTTHATANOMALIESINTHE SOCIALSTRUCTURECANHAVEACREATIVEFUNCTION0EOPLEWHOARE DIFFERENT GOAGAINSTTHEACCEPTEDNORMSANDTHEREFORECREATE SPACEFORFREEDOM"YCHARACTERIZINGHIMSELFA@BORNANOMALY ACCORDINGTOTHISLINEOFREASONING@BEINGYOURSELFFITSINWITH @BEINGANANOMALY WHICH INTURN TALLIESWITH@ADOPTINGACRE ATIVEROLEINSOCIETY 7HATS CHARACTERISTIC OF 3TEVENSS LINE OF THOUGHT IS THAT A WAY OF BEING BEING AN ANOMALY TRANSFORMS INTO A WAY OF BEHAVIOURADOPTINGACREATIVEROLE ALMOSTWITHOUTNOTICE)N ORDERTOPRESSHOMETHISIDEA 3TEVENSHASAPPOINTEDHIMSELF @DEFENDER OF THE FREEDOM TO BE ANOMALOUS /F COURSE HE IS AWARE THAT THE FREEDOM TO BE @ANOMALOUS CANNOT BE TAKEN FORGRANTED@4IMEANDTIMEAGAIN YOUHAVETOFIGHTFORYOUR FREEDOM 3TEVENS SAYS 3TEVENS CHARACTERIZES HIS ANTI PER FORMANCEASAQUESTFOR@ABALANCEBETWEENNON CONFORMITY AND CONFORMITY WITHOUT ACTING OUT AND WITHOUT RESTRAINING ONESELFEITHER)TISIMPOSSIBLETODETERMINEBEFOREHANDWHAT KINDOFBEHAVIOURITMAYENGENDERINDAILYLIFE%ACHTIMECAN BEDIFFERENT DEPENDINGONTHEENCOUNTERSEXPERIENCEDBYTHE ARTIST 4HEFACTTHATINAPPLYINGTHISTACTIC THENATURALNESSREFER REDTOBY$E#ERTEAUISNOTLOST HASTODOWITHTHEFACTTHAT 3TEVENSS REGARD FOR HIS BEHAVIOUR COMES NATURALLY TO HIM !CCORDINGTO3TEVENS HEISJUSTBEINGHIMSELF4HATSWHYHE CANCLAIMHEDOESNOTHAVETODOANYTHINGFORHISPROJECT"UT ITIGNORESTHEFACTTHAT@DOINGNOTHINGENTAILSAPERMANENTANTI CIPATIONOFTHEPOSSIBILITYOFFEREDBYAMEETINGTO@SIMPLYBE DIFFERENTANDTHEREFOREONESELF!NTICIPATINGTHISKINDOFFREE DOMISLIKERUNNINGTHEGAUNTLETACERTAINAMOUNTOFDEXTERITY ISCALLEDFOR)TREQUIRESAPARADOXICALDEMEANOUR MANOEUVRING BETWEENCALCULATIONANDCARELESSNESS BETWEENCUNNINGAND @LAISSEZ FAIRE

%VER SINCE HE GRADUATED FROM THE 2IETVELD !CADEMY IN !MSTERDAM IN 2OÏ #ERPAC HAS GAINED RECOGNITION IN ASMALLCIRCLEASANARTISTWHO ONINVITATIONANDINEXCHANGE FOR FINANCIAL COMPENSATION SHOWS @INVOLVEMENT WITH ARTISTS ANDSCHOLARS(EALSOSHOWS@INVOLVEMENTnWITHOUTFINANCIAL COMPENSATIONnWITHPEOPLEMETBYCHANCEINHISNEIGHBOUR HOOD !T FIRST HIS BEHAVIOUR SEEMED TO RESEMBLE THAT OF A MENTAL COACH WHO IS SO INVOLVED WITH HIS @CLIENTS THAT THEY STARTTOCONSIDERHIMTHEIRFRIEND)NFACT #ERPACBECAMESO INVOLVED THAT NEITHER HE NOR HIS CLIENTS WERE WILLING TO SAY ANYTHING ABOUT THEIR ENCOUNTERS )T WAS @TOO INTIMATE 4O BE ABLETOSAYANYTHINGABOUTIT YOUHADTOHAVEBEENTHERE"UT THISAPPROACHGAVERISETOMISUNDERSTANDINGAND#ERPACFELT OBLIGED TO ISSUE A WRITTEN STATEMENT IN WHICH HE STATED THAT HISWORKHADNOTHINGTODOWITHMENTALCOACHING41INSTEAD IT SHOULDBECONSIDERED@ANACTOFSEEINGTOGETHER #ERPAC HAS BEEN @INVOLVED WITH ARTIST *EROEN +OOIJMANS FORANUMBEROFYEARSNOW SOMETIMESEVENONAWEEKLYBASIS +OOIJMANS@#ERPACKEEPSYOUCOMPANY BECOMESINVOLVED HELPSYOUGETSTARTED OPENSYOUREYESTOUNFORESEENPOSSI BILITIES"UTYOUSTILLDOEVERYTHINGBYYOURSELF(ESJUSTTHERE ) SUPPOSE IT IS RATHER STRANGE 9OU CAN BECOME ADDICTED TO #ERPAC(ESEESTHROUGHYOUREYES)TISLIKETAKINGDRUGS THAT YOUCANONLYWORKUNDERHISINFLUENCE/NTHEOTHERHAND ITS NOTTHATEXCEPTIONAL)THOLDSTRUEOFANYPERSONYOUBECOME FOND OF WITH WHOM YOU SPEND A LOT OF TIME )TS ALWAYS DIF FICULTTOPINPOINTHOWYOUAREINFLUENCEDBYAFRIEND 42!RNE (ENDERIKS TOO EXPLAINS THAT WORKING TOGETHER WITH #ERPAC ISNODIFFERENTFROMSPENDINGTIMEWITHAFRIEND(ETOOFINDS ITANELUSIVESITUATION ASIF@TRYINGTOLOOKDIRECTLYATTHESUN ALTHOUGH YOU ARE AWARE THAT YOU CAN ONLY GLANCE AT IT SIDE WAYS43 h)TISAFEELINGv #ERPACRECENTLYEXPLAINEDTOME hATEM PORARY FEELING THAT YOU USUALLY EXPERIENCE TOGETHER 4HAT IS MYREWARD)TISANADDICTION.OTTHATITSLIKEATRIP9OUCANT

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EXPERIENCEATRIPTOGETHER"UTYOUCANEXPERIENCETHISFEELING TOGETHER)TISWHAT)THRIVEONv(OWEVER #ERPACHASMOREIN VIEWTHANSIMPLYTO@EXPERIENCEATRIPTOGETHERHEWANTSTO USETHEEXPERIENCETACTICALLY#ERPACCLAIMSTOASPIRETOFORCE @ABREAKTHROUGH AKINDOFMENTALLEAPORANEXPLOSIONOFPOS SIBILITIES7ORDSWHICHHECHOSESCAREFULLY#ERPACISTRYINGTO DISCOVERWHATARTANDMORESPECIFICALLYTHEARTOFENCOUNTER CANENTAIL BESIDESBEINGASOCIALSCULPTURE %VER SINCE *OSEPH "EUYSS PERFORMANCE THE TERM SOCIAL SCULPTURE HAS BECOME SUCH A DOMINANT METAPHOR THAT ANY ATTEMPTTOSHAPENEWENCOUNTERSINARTAUTOMATICALLYTURNSTO THIS OLD METAPHOR .EW ENCOUNTERS ARE ASSOCIATED WITH CRE ATINGFORMS WITHKEEPINGTOGETHER FILLINGIN"UTINDOINGSO ARTISIMPOSINGRESTRICTIONSONITSELF LIMITINGITSOWNFREEDOM ACCORDINGTO#ERPAC)NHISVIEW THEREISANOTHERWAYTOGIVE SHAPETOENCOUNTERSINART)NTHEINVITATIONHESENDSTOPEOPLE WHOWANTTOWORKWITHHIM HEWRITES@,ESSTOFORCE LESSTO ORGANIZE LESSTOMANIPULATE3UBSEQUENTLY #ERPACEMPLOYS ATERMINOLOGYWHICHAVOIDSASSOCIATIONSWITHTHESCULPTURAL ATERMINOLOGYWHICHHEISCONSTANTLYDEVELOPINGTHROUGHAND DURINGHISENCOUNTERS)NCONVERSATIONWITHHIM ITISSTRIKING HOWMANYMETAPHORSHEUSESTOANSWERTHESIMPLESTOFQUES TIONS ELECTRICITY EXPLOSIONS PERSPECTIVE CHANGES LENSES SPECTRUM LEAP TRANSFORMATION TRANSVERSINGBLACKHOLES4HE @BREAKTHROUGHS WHICH HE EXPERIENCES WITH OTHER ARTISTS OR SCHOLARS CAN@CRYSTALLIZEINTHEIRWORKnHENEVERUSESTHETERM @TAKESHAPE #ERPACSIMAGERYISNOTALWAYSLUCID(OWEVER ITISCRYSTAL CLEARTHATHE BYCONSTANTLYEMPLOYINGCERTAINMETAPHORS ANTI CIPATESTHATTHEENCOUNTERSTHATHEENTERSINTO ARENOLONGER MODELLED ON WHAT IS GENERALLY KNOWN AS A SOCIAL STRUCTURE #ERPACh&ORME ARTHASTODOWITHSOMANYTHINGS!RTCAN GIVE SECOND WIND TO THINGS WHICH SEEM TO HAVE COMPLETELY FIZZLEDOUT!RTMEANSCONTINUITY BUTINACOMPLETELYDIFFERENT SENSETHANUSUAL)TSJUSTLIKESEEINGIFYOURECOMPLETELYLOCK

EDUPINSIDEYOURSELF ITOFFERSYOUFRESHOPPORTUNITIESTOSEE THESPACEAROUNDYOUv !S WITH 3TEVENS #ERPAC TRIES TO AVOID SETTING THINGS UP DELIBERATELY3TRATEGIESARETHEDEATHBLOW#ERPACPREFERSTO DETERMINELESS INORDERTOSEEMORE(ECANNOTFORCEA@BREAK THROUGHOR@LEAP ORDETERMINETHE@CRYSTALLIZATION"UTHECAN ANTICIPATE THE @BREAKTHROUGHS WHICH FOR EXAMPLE CAN TAKE PLACEINASHAREDEXPERIENCEOFFRIENDSHIP

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!CCORDING TO (ANS #HRISTIAAN +LASEMA @ART IS FREEDOM OF SPACEANDARTISTSARETHEPERPETUALLYFREE!SHEEXPLAINSTO MEh4HEREISALWAYSANEMPTYSPACETOBECKONANDCHALLENGE THE ARTIST WHICH HE CAN BESIEGE WITH A VENGEANCE OR ENTER HESITANTLY !RTISTS ENJOY THE PRIVILEGE OF LINGERINGv (OWEVER +LASEMAISNOTHAPPYWITHTHISPOSITION(EENJOYSTHEFREE DOM BUTITSNOTENOUGH!SATHEATREMAKERITISNOTENOUGH FOR HIM TO SIMPLY WORK ON STAGE !ND AS A VISUAL ARTIST HE DOESNT JUST WANT TO EXHIBIT IN GALLERIES (E WANTS TO NESTLE DOWNAMONGHISAUDIENCE NOTJUSTINORDERTOLETTHEMSHARE INHISEXEMPTEDPOSITION BUTSOASTOREACHOUTTOGETHER TO ANTICIPATEYETANOTHERLEVELOFFREEDOM )N +LASEMA PARTICIPATED IN THE FINAL ROUND OF THE $UTCH0RIXDE2OMEAWARDFORTHEATREANDTHEVISUALARTS4HE OUTCOME WAS UNDECIDED 7ITH THE SHARED PRIZE MONEY HE TOOKHISRETREATINASETOFOUTBUILDINGSBELONGINGTOAFARMIN THE&RISIANCOUNTRYSIDE!FTERAFEWMONTHS HEDIDSOMETHING EXTRAORDINARY(EDUGALARGE DEEPPITINABARN!TTHEBOTTOM OFTHEPITHEPLACEDACHAIR3ITTINGONTHECHAIR ALLHECOULD SEEWASTHECLAYWALLINFRONTOFHISNOSE)TSUFFICEDASAFREE SPACE SOMEWHERE HE COULD WITHDRAW FROM EVERYTHING AND EVERYBODY!FREEDOMFARAWAYFROMTHEPUBLIC WHICHCOULD PEERATHIMOVERTHEEDGEOFTHEPIT4HEREWASNOCONTACT4HE GROUNDWATERSTARTEDTORISE4HEEMPTYSPACEWASFILLEDUP 4HROUGHTHISEXPERIENCE+LASEMACAMETOTHEDECISIONTO LET THE AUDIENCE SHARE IN HIS FREEDOM IN THE FUTURE (E GAVE

Good Intentions


UP EVERYTHING HE OWNED INCLUDING HIS HOUSE AND WENT TO !MSTERDAM(ETOOKUPRESIDENCYINAUTILITYROOMUNDERTHE STAGEFLOOROFTHEATREGROUP-UGMETDEGOUDENTANDSREHEARSAL SPACE+LASEMAHADALREADYWORKEDTOGETHERWITHTHEGROUP AND NOW HE NESTLED DOWN THERE +LASEMAS PRESENCE IN THE REHEARSALSPACECHANGEDTHEWORKSITUATIONh)TMADETHEBUIL DINGWARM THERADICALNATUREOFMYDECISIONWASINSPIRATIO NALTOTHEWORKPROCESS INFLUENCEDTHETHEMESOFTHETHEATRE PRODUCTIONSv +LASEMAEXPLAINSh!UTONOMYBECAMEHETERO NOMY)NTHEEND THEOTHERSDETERMINEDMYSTAY7HICHWAS FINEBYME ITWASWHAT)HADINMINDANYWAY"UTITTURNEDOUT TOBEUNTENABLE2EHEARSALSWEREHELDDURINGTHEDAY INTHE EVENINGSANDSOMETIMESEVENATNIGHT!NDALLTHETIME)WAS INVOLVEDWITHPEOPLEANDPROCESSES)TWASTOOMUCHv +LASEMADECIDEDTOGOBACKTOSQUAREONEANDBECOMEA MONK ACHILDHOODDREAM&ORFIVEYEARS FROMTILL HE TENDED TO THE GARDEN IN THE "ENEDICTINE ABBEY OF 6AALS ,IFEINTHEMONASTERYWAS CONTRARYTOHISEXPECTATIONS FULLOF ENCOUNTERSh-ORETHANPEOPLEAROUNDYOUALLTHETIME IN CLOSECONTACT!NDTHENTHEREWEREALLTHEGUESTSx !DIF FERENCEWASTHATTHEHETERONOMYTRANSFORMEDINTOTHEONOMY )WASSCULPTEDFROMWITHINx %VERYINCHOFMYLIFEASAMONK WASSTYLIZEDv (OWEVER WHENTHEMOMENTCAMETOMAKEHISETERNALPRO FESSION +LASEMA LEFT THE MONASTERY FEELING DAUNTED BY THE IDEAOFNOLONGERBEINGEXEMPTEDASANARTIST "ACKIN!MSTERDAM +LASEMATOOKONYETANOTHERFREESPACE THE UTOPIA OF $E STRAAT 4HE 3TREET %ARLIER HE HAD ALREADY DISCUSSEDHISPLANSWITHMEMBERSOF-UGMETDEGOUDENTAND .OW TOGETHERWITHTHEMANDOTHERS HEBEGANTOREALIZEHIS PLANS)TWASTOBECOMEAHOUSINGBLOCKONTHENEWHOUSING ESTATEIN)*BURG NEAR!MSTERDAM(OUSING WORK CAREANDSPI RITUALITYWOULDALLCOMETOGETHER4HE#OUNCILANDTHEHOUSING CORPORATIONSWEREENTHUSIASTIC-ORETHANAHUNDREDPEOPLE WEREWILLINGTOLIVE@SEMI PUBLICLIVES4HERE +LASEMASIDEA

OFSHARINGFREESPACEWASTOBECOMEREALITY&ORTHREEYEARS HEDEDICATEDHIMSELFTOTHEPROJECT"UTITBECAMEINCREASINGLY CLEARTHATYETAGAIN THEFREESPACEWASGOINGTOBEFILLEDUP ANDPLANNEDOUT LONGBEFORETHEFIRSTSPADESTRUCKTHEEARTH 4HE DYNAMICS SEEM INEVITABLE +LASEMA DOESNT FEEL EMBITTERED ABOUT IT h!S AN ARTIST YOU CAN MAKE USE OF THE FREEDOMTHATOTHERPEOPLEOFFERYOU4HEREISAGREATNEEDFOR FREESPACE0EOPLEAREVERYOBLIGING THEREISASTRONGDESIRE TOFEELANEWZEST)NTHEMEANTIME HOWEVER THEARTISTCASTS OFFHISWINGS LOSESHISMUSE BECOMESAREALESTATEDEVELOPER !SANARTISTYOUARELIKELYTORECOGNIZEFREESPACE ANDTOJUMP RIGHTIN"UTYOUSHOULDREALLYONLYPASSTHROUGHAFREESPACE 4HATSENOUGHFOROTHERPEOPLETOMAKEUSEOFIT!SSOONAS YOUSTARTRESIDINGINTHESPACE ITWILLDEVOURYOUYOUVESOLD YOURSOUL4HENITSTIMETOMOVEONv 3INCE LAST YEAR +LASEMA HAS BEEN LIVING IN THE COUNTRY NEAR'RONINGEN ONTHE/OSTERHOUWESTATE TOGETHERWITHTHE OWNER A HORTICULTURALIST h7E BECAME ACQUAINTED THROUGH MUTUAL FRIENDS ) WROTE HIM A LETTER !BOUT THE DESIRE FOR INT IMACY)TSTRUCKTHERIGHTCHORD)TWASQUITEARISKYENTERPRISE APPROACHINGHIMINSUCHAMANNER)MPERTINENTYETPRECARIOUS )HAVEBEENHEREEVERSINCE MUCHTOMYPLEASURE4HE3TREET WASGETTINGONTOPOFME )WANTEDOUT)TMEANSNEWFREEDOM MORELOW KEYANDMOREINTIMATEv

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4HEPROJECTSBY3TEVENS #ERPACAND+LASEMADISPLAYACAREFUL DAY TO DAYCONSIDERATIONOFTHEACTOFANTICIPATION OFREACHING OUTTOAFREEDOMWHICHWILLEMERGEANDSUBSEQUENTLYDISAP PEARBEHINDTHEHORIZON4HEARTISTSARECONSISTENTLYWORKING ATTHIS@FAIREAVEC DEVELOPINGTHE@FAIREAVECASAMORALDIS POSITION%VERYSTEPTHAT3TEVENSTAKES HASTOCOMEASNATU RALLYASPOSSIBLE YETWITHOUTOBSCURINGHIS@ANOMALOUSNESS THEREFOREHOPEFULLYCREATINGSPACETOBE@ANOMALOUS#ERPAC HAS DEVELOPED METAPHORS WHICH NOT ONLY DO JUSTICE TO HIS @BREAKTHROUGHSWITHHISCOMPANIONS BUTALSOTOTHEEXPEC

Good Intentions

TATIONTHATTHE@BREAKTHROUGHSWILLOCCURAGAIN!ND+LASEMA IMPERTINENTLYANNEXESSPACEFORHISUTOPIANCOMMUNITYSPIRIT 5NDEREVERCHANGINGCIRCUMSTANCES HELETSPEOPLESHAREINHIS FREEPOSITION%ACHTIMEHETRIESTOENDURETHESHAREDFREEDOM UNTILTHEFREEDOM@ISFILLEDUPWITHREALITYANDITSTIMETOLOOK OUTFORNEWFREEDOM )NSHORT THESEARTISTSEXERCISEAPARADOXALPOSITIONTHEY ANTICIPATEANOBJECTIVETHATCANNOTBEDETERMINED)TISAMAT TER OF OPEN INTENTIONS TAKING IT NO FURTHER THAN HAVING GOOD INTENTIONS4HEARTISTSREFUSETO ANDAREUNABLETO FORCIBLYREA LIZEORACCOMPLISHTHEIROBJECTIVES)FSO THENTHENATURALNESS WOULD DISAPPEAR THEIR GOOD INTENTIONS WOULD TRANSFORM INTO OBJECTIVES THEIR TACTICS INTO STRATEGIES 'IVING CAREFUL CONSI DERATIONTOGOODINTENTIONS THATSWHATITSABOUT INTHEHOPE nOR FORSOME LIKE#ERPAC INTHECONVICTIONnTHATGOODWILL NATURALLYCOMEABOUT .O WONDER THAT SOME ART CRITICS FELT UNCOMFORTABLE )N ORDER TOBEASUCCESS INTENTIONSHAVETOBEVISIBLEINACONCRETE VISIBLEARTWORKORACLEAR PRECONCEIVEDCONCEPT)NART INTEN TIONS ALONE ARE NOT ENOUGH IS THE GENERAL OPINION 7HICH IS UNDERSTANDABLE IF@GOODINTENTIONSARESUPPOSEDTOMAKEUP FORTHEFACTTHATAPROJECTHASFAILED(OWEVER IFTHEARTISTHAS SPECIALIZEDINGOODINTENTIONS ANDGIVESCAREFULCONSIDERATION TOTHEDEVELOPMENTOFANANTICIPATORYPOSITION THENWEMUST TAKE HIM SERIOUSLY AND TRY TO DEVELOP WAYS TO DISCUSS THE QUALITYOFTHISPOSITION


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Good Intentions


)N HER COLLECTION OF ESSAYS 6AN INHOUD NAAR HOUDING &ROM 3UBSTANCE TO $ISPOSITION )LSE "ULHOF WORKS TOWARDS A METHOD FOR DISTINGUISHING BETWEEN QUALITY IN A PLURALISTIC SOCIETY 4HE STARTING POINT FOR "ULHOF IS WHAT SHE CALLS @THE ART OF RESUMPTION WHICH IS UNDERSTOOD TO MEAN THE ACTIVE EXECUTIONOFAREPERTOIRE OFSOMETHINGWHICHALREADYEXISTS %XAMPLESARETHEPERFORMINGARTS SUCHASMUSICANDTHEATRE 3HE CALLS IT PERFORMATIVE RESUMPTION BECAUSE THE QUALITY OF THEMUSICIANSORACTORSPERFORMANCEONLYSTARTSTO@EXCELIN THEACTUALPERFORMANCE INTHEEXECUTIONORPRESENTATIONOFTHE GIVENREPERTOIRE44 )N"ULHOFSVIEW INOURSOCIETYTHISKINDOFRESUMPTIONHAP PENS INALL KINDS OF FORMS AND ON ALLKINDS OFLEVELS %VENTS SITUATIONS THINGSANDPEOPLEARERESUMED ANDTHESERESUMP TIONSREAPPEARATDIFFERENTTIMESANDDIFFERENTPLACESONSTAGE INLITERATURE INARTANDINLIFEITSELF454HESAMETHINGGOESFOR CONTEMPORARYMODERNART3INCETHESTHEEMPHASISHAS BEENLESSONINNOVATIONANDORIGINALITYITHASBECOMEACCEP TEDTHATIMAGESARERECYCLEDANDAPPROPRIATED%VENPERFOR MANCESHAVEBEENRESTAGED REGARDLESSOFTHEFACTTHATTHEY ARESTRONGLYTIEDINWITHTHEARTISTANDTHESPECIFICSITUATION)N !,ITTLE"ITOF(ISTORY2EPEATED AT+UNST 7ERKEIN"ERLIN FOREXAMPLE YOUNGARTISTSCOMPAREDTHEMSELVESTOPREDECES SORSSUCHAS6ITO!CCONCI ,AURIE!NDERSONAND$AN'RAHAM46 "UTTHESERE ENACTMENTSAREALLABOUTCOMPARINGTHENEWPER FORMANCESWITHTHEORIGINAL WHEREAS"ULHOFSRESUMPTIONSARE ABOUTCOMPARINGTHERESUMPTIONSWITHEACHOTHER!CCORDING TO"ULHOF ITTAKESCONSTANTOBSERVANCE PRACTICEANDTRAINING IN ORDER TO BE ABLE TO MAKE A DISTINCTION IN QUALITY BETWEEN ALLTHERESUMPTIONS47 /NLYTHENCANONEDEVELOPTHEPOWEROF DISCERNMENT &OR A CLEAR UNDERSTANDING OF "ULHOFS @RESUMPTION IT IS IMPORTANT TO STRESS THAT RESUMPTION IN HER VIEW IS NOT A RE ENACTMENTOFAPERFORMANCEORTHERECYCLINGORAPPROPRIATION OF THE ORIGINAL h2ESUMPTIONS MAKE THINGS PRESENTv "ULHOF

EXPLAINEDTOME4HERESUMPTIONSEXISTENCEISDEPENDENTON WHATEVERISRESUMED BUTTHEACTUALRESUMPTION@ONLYEXISTS ONADIRECTLEVELOFPRESENTATION @MAKINGPRESENT!RESUMP TIONCANBEREPRESENTED ITCANBERECORDEDORTURNEDINTOA PHOTOGRAPH OR PAINTING "UT THE ACTUAL RESUMPTION REMAINS ONALEVELWHICHPRECEDESTHEREPRESENTATION THELEVELOFTHE DIRECTPERFORMANCE OF@MAKINGPRESENT)TISONTHISLEVELTHAT THE DISPOSITION OF THE PERSON WHO @MAKES PRESENT MATTERS !NDITSTHELEVELONWHICHTHEARTOFENCOUNTERTAKESPLACE

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!RTISTSSUCHAS#ERPAC +LASEMAAND3TEVENSMAKEENCOUN TERSPRESENT%NCOUNTERSWHICHAREFAMILIARTOUS FROMOURDAY TO DAYLIVESORFROMNOVELS FILMSANDPLAYS4HEARTISTSRESUME THEENCOUNTERS.OT HOWEVER WITHAVIEWTOPRESENTINGSOME THING THEY HARDLY DIRECT OR GIVE SHAPE TO THE MEETINGS THE MEETINGSARENOTSUPPOSEDTOEXPRESSORSYMBOLIZEANYTHING )NDOINGSO THEYRETAINALARGEDEGREE OF UNPREDICTICALITY OF OPENNESS3UBSEQUENTLY ALLKINDSOFTHINGSSTARTTOBUBBLEUP !SARESULT THEEMPHASISISNOTSOMUCHONTHECONTENTASON THEDISPOSITION"YRESUMINGENCOUNTERS THEARTISTSLOOKCLO SELYATTHEIROWNDISPOSITIONANDTHATOFTHEPARTICIPANTS +LASEMAS ACTIONS ARE SOMEWHAT COMPARABLE TO THAT OF THEMAINCHARACTERIN0ASOLINIS4EOREMA )NTHENOVEL AYOUNGSTRANGERDROPSINTOTHELIVESOFA2OMANBOURGEOIS FAMILY(EISJUSTASIMPERTINENTANDSENSITIVEAS+LASEMA(E INTRODUCESAFREEDOMINTOTHEFAMILYWHICHREMAINSUNDEFINED PUTTINGTHERELATIONSHIPSWITHINTHEFAMILYTOTHETEST+LASEMAS ACTIONSCOULDALSOBELIKENEDTOTHATOFOTHERUNKNOWNSURPRISE GUESTSINNOVELS PLAYSANDINDAILYLIFEWHOPUTTHEDISPOSI TIONSOFBYSTANDERSTOTHETEST!NDTHEMANNERINWHICH2OÏ #ERPACAIMSTOACHIEVE@BREAKTHROUGHSWITHHISCOLLEAGUES COULDBEINTERPRETEDAS@MAKINGPRESENTTHATSPECIALKINDOF FRIENDSHIPORLOVEWHICHISMENTIONEDIN$UTCHNOVELISTS!NNIE -'3CHMIDTWORK48AKINDOFLOVEWHICHHASGOTNOTHINGTO DOWITHBUTTERFLIESINTHESTOMACH ORDESIRINGSOMEBODY BUTA

Good Intentions

POSITIVEINTIMACYAMONGCOLLEAGUES ASARESULTOFACOLLECTIVE ENTERPRISE4HECOLLEAGUESDONTHAVETOBETHEBESTOFFRIENDS OUTSIDE OFFICE HOURS BUT WHEN AT WORK THEY ARE DEDICATED COLLEAGUES 4OGETHER THEY ARE COMMITTED TO THEIR ENTERPRISE WHICHCANTAKEGREATSTEPSFORWARDATATIME BERAISEDTOA HIGHERLEVEL)TSTHATKINDOFBREAKTHROUGHTHAT#ERPACANTICI PATES "ULHOFS POINT OF VIEW PUTS ARTIST *EANNE VAN (EESWIJKS OEUVRE USUALLY ASSOCIATED WITH SOCIAL COMMITMENT IN A DIF FERENT LIGHT AS WELL 6AN (EESWIJKS PROJECT ,ANGS DE LIJN VAN DETOEKOMST/NTHE%DGEOFTHE&UTURE IN'ORKUMCOULDBE DEFINEDASTHERESUMPTIONOFALLKINDSOFSPORTS @MADEPRESENT INAGAMEOFCOMPARISONANDCOMPETITION$URINGTHETOURNA MENT 6AN(EESWIJKSLIGHTLYALTEREDTHERULESANDFORMSOFALL KINDSOFEXISTINGANDFOLKLORICSPORTSANDGAMES SOTHATTHE PARTICIPANTSOFDIFFERENTCULTURESWERENOTFORCEDTODOTHINGS @THEPROPERWAY4HETEAMSANDINDIVIDUALATHLETESWEREABLE TOEXCELINTHEIROWNUNIQUEINTERPRETATIONANDPERFORMANCE !TTENTIONWASFOCUSEDONTHEATTITUDEDURINGTHEGAMES NOT ONTHESCOREBOARD


QUALIFICATIONS0OSITIVEORNEGATIVEQUALIFICATIONSSENSIBLEOR NAIVE COURAGEOUSORCOWARDLY CAREFULORCARELESS OPENMIN DED OR BIGOTED CONCERNED OR INATTENTIVE MAGNANIMOUS OR NARROW MINDED)NALLDIFFERENTKINDSOFGRADATIONS#ERTAINLY NOTNONCOMMITTALQUALIFICATIONSOFNONCOMMITTALDISPOSITIONS 4HESEMORALQUALIFICATIONSAUTOMATICALLYBRINGUSINTOTHEFIELD OFVIRTUEETHICS6IRTUEETHICSCANBEIDENTIFIEDASTHEJUDGMENT OFDISPOSITIONS(AVINGGOODINTENTIONS TESTINGGOODINTENTI ONS JUDGINGGOODINTENTIONS ARETHEFOCUSOFTHISAPPROACH INETHICS.OWTHATTHEJUDGMENTSTHEMSELVESHAVEBECOMEA TOPICINRECENTVIRTUEETHICS THERESALLTHEMOREREASONTOTAKE ACLOSERLOOK

0ERHAPSTHATISWHATSOMEARTCRITICSARESOAFRAIDABOUTTHATIN THEIRJUDGMENTTHEYCANONLYFALLBACKONCRITERIAWHICHINTHEIR ESTIMATIONAREVAGUE SUCHASDISPOSITIONS)NDEED THEPOWER OFDISCERNMENTPROPAGATEDBY"ULHOF FOCUSESMOREONPEOP LESDISPOSITIONSIN@PRESENTINGANDNOTONTHEACTUALCONTENTS "UT THAT DOESNT NECESSARILY MEANTHATTHEJUDGMENTSHOULD ELUDEUS)TISPOSSIBLETOJUDGEADISPOSITION4HEPROBLEMIS HOW"ULHOFDOESNTADDRESSTHISISSUE"UTASFARTHEJUDGMENT GOES SHEHASPUTUSINTHERIGHTDIRECTIONINDETERMININGWHAT THEARTOFENCOUNTERISALLABOUT )FWEWANTTOCOMMENTONTHEQUALITYOF3TEVENSS +LASEMAS AND#ERPACSACTIONS ORTHEATHLETESWHOPARTICIPATEDIN6AN (EESWIJKSTOURNAMENT THENITSONLYNATURALTOEMPLOYETHICAL 54

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Good Intentions

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&ORMANY THECONCEPTOFVIRTUECONJURESUPNOTIONSOFMEDIO CRITYANDOBEDIENCE'ENERATIONSOFMORALPHILOSOPHERSHAVE CONTRIBUTED TO THESE NOTIONS BY EQUATING VIRTUOUSNESS WITH ADHERENCETOSOCIALCONVENTIONS)NRECENTYEARSHOWEVER PHI LOSOPHERSSUCHAS!LASDAIR-AC)NTYREAND-ARTHA.USSBAUM HAVE SHOWN THAT VIRTUOUSNESS HAS GOT NOTHING TO DO WITH MEDIOCRITY AND EVERYTHING TO DO WITH AN EXTREMELY CONSCI ENTIOUS AND ADVENTUROUS INDIVIDUAL ATTITUDE AND DISPOSITION 4HEIRAPPROACHGOESBACKTO!RISTOTLESETHICS WHODESCRIBED VIRTUEASADISPOSITIONFORCHOOSINGTHEMIDDLEPOSITIONWHEN CONTEMPLATINGACTION )MMANUEL +ANTS ETHICS OF DUTY AND *EREMY "ENTHAMS ETHICS OF UTILITY JUDGE AN ACTIONS RIGHTNESS BY A STANDARD IRRESPECTIVE OF TIME AND SITUATION )N !RISTOTLES VIRTUE ETHICS HOWEVER TIME AND SITUATION ARE PIVOTAL )TS NOT A CALCULATED DECISION THEN BUT A MATTER OF WEIGHING UP DIFFERENT FACTORS WITHINAFIELDOFFORCE&OREACHINDIVIDUAL THEDECISIONWILLTURN OUT DIFFERENTLY 7HAT DEFINES VIRTUOUS ACTIONS WITHIN A GIVEN SITUATION REMAINSARELATIVENOTION)N!RISTOTLESVIRTUEETHICS THEREFORE ITISMOREABOUTDISPOSITIONTHANABOUTACTION 6IRTUEISADISPOSITIONWHICHCANBELEARNEDTHROUGHPRAC TICE THROUGH A CONSTANT DESIRE TO BEHAVE IN THE RIGHT MAN NER IN VARIOUS DIFFERENT SITUATIONS &OR EXAMPLE BY DISPLAY ING COURAGE TIME AND TIME AGAIN IN EVER CHANGING CONTEXTS nACCORDINGTO!RISTOTLE THEMEANBETWEENRECKLESSNESSAND COWARDICE/RBYREPEATEDLYDISPLAYINGHONESTINDIGNATION A VIRTUE WHICH STANDS MIDWAY BETWEEN ENVY AND UNHOLY GLEE %ACHTIME THEREAREDIFFERENTREASONSFORDISPLAYINGCOURAGE OR INDIGNATION AND EACH TIME COURAGE AND INDIGNATION WILL TAKEONADIFFERENT@SHAPE-OREOVER ASPHILOSOPHER0AULVAN 4ONGERENUNDERLINES INVIRTUEETHICSTHEVIRTUESARENOTSPECI FIED)NDIFFERENTTIMESANDDIFFERENTCULTURES DIFFERENTVIRTUES APPLY49 4HERENEWEDINTERESTIN!RISTOTLESVIRTUEETHICSINOURTIMES COMES AS NO SMALL SURPRISE 4HESE ETHICS SEEM IDEAL AS AN 57

Good Intentions

ALTERNATIVEFORTHEREDUNDANTMORALSYSTEMSOFBOTH+ANTISTS UTILITARIANSANDEMOTIVISTS ANDCYNICAL INORDINATEPOSTMODERN RELATIVISM6IRTUEETHICS AFTERALL ARGUESTHATREGARDLESSOFOUR DISPARATE NOTIONS OF THE GOOD LIFE WE NEVERTHELESS HAVE TO MAKEDOWITHEACHOTHER)NVIRTUEETHICS THISCAN TOACERTAIN EXTENT BEACHIEVEDWITHOUTLAPSINGINTONAIVETÏ6IRTUEETHICS EVENOFFERSUSSOMETHINGSUBSTANTIALTOGAINPROGRESSINVIR TUOUSBEHAVIOURBYAPROCESSOFTRIALANDERRORANDCONSTANT PRACTICE (OWEVER THERE IS A CATCH WHY SHOULD WE STRIVE FOR THE GOOD FORJUSTANDEXCELLENTACTIONS7HYSHOULDWEWEIGHUP ANDJUDGEOURACTIONSANDTHOSEOFOTHERS!NDMORETOTHE POINTWHYNOW INOURDAYANDAGE INASOCIETYWITHOUTANY FIRMGROUNDFORMAKINGSUCHJUDGMENTS ASOCIETYINWHICHWE ACCORDINGTOMOSTPHILOSOPHERS AREINASTATEOFINCOHERENCY 3HOULDNTWEBECELEBRATINGTHELACKOFCOHERENCY SHOULDNT WEENDEAVORTOPROLONGTHESTATEOFPURPOSELESSNESS SAMPLE THEFLEETINGNESSOFTHEMOMENT3HOULDNTWERECOGNIZETHAT WE ARE CURRENTLY IN A STATE OF DISORIENTATION THAT WE ARE LIKE @FOAM TOQUOTEPHILOSOPHER0ETER3LOTERDIJK50 !LASDAIR -AC)NTYRES ANSWER IS STRIKING IN ITS SIMPLICITY 0EOPLEJUSTCANTHELPTHEMSELVES HEASSERTSPROSAICALLY%VEN IF THERE IS NO DIRECTION OR GOAL OR FINAL ORIENTATION POINT WE STILLSTRIVEFORGOODNESS4HEREASONBEINGTHAT ACCORDINGTO -AC)NTYRE WEAPPLYANARRATIVESTRUCTURETOEVERYINCHOFOUR DAILY LIVES 7E ARE CONSTANTLY ASKING OURSELVES WHICH STORY ANDSTORIESWEAREPARTOF ORWANTTOBEPARTOF7ECANTHELP OURSELVES ITSJUSTTHEWAYWEARE@7EARESTORIES -AC)NTYRE SAYS@7ELIVESTORIES MINORANDMAJORSTORIES WHICHINTURN AREINTERWOVENWITHOTHERPEOPLESSTORIES51 )NHERENTTOTHIS@LIFEOFSTORIES ARETHECONSIDERATIONSTHAT WEWEIGHUP#ONSIDERATIONSSUCHASWHATTOTELLANDWHATTO LEAVEOUT OURCHOICEOFWORDS THEWAYINWHICHWEUSETHEM ANDWHENTOREMAINSILENT!NDINTURNALLTHESECONSIDERATI ONS TRIGGER THE JUDGMENT OF OUR OBJECTIVES OUR ACTIONS AND 58


OURDISPOSITIONS)NSHORT EVEN ORPERHAPS ESPECIALLYINOUR SOCIETYnASOCIETYINWHICHSTORIESAREINSHARDS RESUMPTIONS AREEITHERSTUNNINGORTEDIOUS OUREXISTENCEBUBBLESUPLIKE FOAM ONLYTOEVAPORATEnWEWILLCONTINUETOSTRIVEFORTHEBEST POSSIBLEACTIONSANDTOFEELTHENEEDTOJUDGETHEM!FTERALL WEAREJUSTLIKESTORIES LIVINGSTORIES WITHABEGINNINGANDAN END /N THAT POINT -AC)NTYRE IS VERY FIRM @!ND TO SOMEONE WHOSAYSTHATINLIFETHEREARENOENDINGS ORTHATFINALPARTINGS TAKEPLACEONLYINSTORIES ONEISTEMPTEDTOREPLY h"UTHAVE YOUNEVERHEARDOFDEATHv52 &OR-AC)NTYRE LIFEANDNARRATIVEARESOCLOSELYRELATEDTHATTHEY AREOVERLAPPING-AC)NTYREISCONVINCEDTHATWECANNOLONGER JUDGEALIFESSTORYNORMATIVELY ASWOULDADEONTOLOGISTORA UTILITARIAN/NTHEOTHERHAND ACOMPLETERETURNTO!RISTOTLES AND4HOMASOF!QUINOSVIRTUEETHICSSEEMSOUTOFTHEQUES TION)NTHEIRTHEORIES ANOPEN SITUATIONALJUDGMENTWASSTILL DETERMINEDBYNOTIONSOFWHATISGOOD4HEPOLISOR#HRISTIAN BELIEF SHARED THESE NOTIONS 3O HOW ARE WE IN THE ABSENCE OFASHAREDNOTIONOFTHEGOODLIFE TOJUDGETHEQUALITYOFOUR ACTIONS!GAIN -AC)NTYRESANSWERTOTHISPROBLEMISSOME WHATPROSAICWESHOULDNOLONGERSIMPLYFOCUSONTHECONSE QUENCESOFOURACTIONS BUTONOURDISPOSITIONFORSTRIVINGFOR THEGOOD!LIFEDEDICATEDTOAQUESTFORTHEGOOD MERITSTHE QUALIFICATIONOFBEINGTHEGOODLIFEINTHECURRENTSTATEOFDISO RIENTATION4ODAY VIRTUESAREFOREVERCHANGINGFOR-AC)NTYRE VIRTUESHAVEEVERYTHINGTODOWITHAQUESTFORDIFFERENT ALTER NATIVE ASOFYETUNKNOWNNOTIONSOFTHEGOODLIFE53 )N THIS CONTEXT WE MUST MENTION PHILOSOPHER -ARTHA .USSBAUM (ER CONTRIBUTION IS RELEVANT TO US INSOFAR AS THAT SHE CONTRARYTO"ULHOFANDMORESOTHAN-AC)NTYRE ATTACHES IMPORTANCE TO THE REPRESENTATION OF THE QUEST FOR WHAT THE GOODLIFECOULDFURTHERENTAIL"ULHOFFOCUSESALLHERATTENTION ONTHEIMMEDIATELEVELOFPRESENTATION-AC)NTYRE INADDITION 59

Good Intentions

ATTACHESIMPORTANCETOTHESTORYINRETROSPECT ASTORYTHATFOL LOWSLIFECLOSELY SOTHATNARRATIVEANDLIFECOINCIDE.USSBAUM HOWEVER FOCUSESALLHERATTENTIONONTHENARRATIVE ONLITERA TURE !ND EVEN THOUGH #ERPAC +LASEMA 3TEVENS AND 6AN (EESWIJKDIDNOTINCLUDELITERATUREINTHEIRENCOUNTERS NEVERT HELESS.USSBAUMSTHEORYHELPSUSTOGAININSIGHTINTHEWAYIN WHICHARTISTS BESIDES@MAKINGENCOUNTERSPRESENT ALSOMAKE ROOMFORTHEREPRESENTATION .USSBAUMDEVELOPEDHERPOSITIONATTHEBEGINNINGOFTHE S IN A REACTION TO THE CONCEPT OF TEXTUALITY WHICH THEN DOMINATEDLITERARYTHEORY%MPHASIZINGTHEINTERRELATIONSHIPS OFTEXTS THISNOTIONWASWIDELYACKNOWLEDGEDASTHEPREVAI LINGDOGMA,ITERATURESEEMEDONLYTOREFERTOOTHERLITERATURE NOTTOPEOPLESLIVES&OR.USSBAUM HOWEVER LITERATUREISFULL OFLIFE SOTOSPEAK)NFACT ACCORDINGTO.USSBAUM BUTFORLITE RATURE WEWOULDNOTKNOWHOWTOLIVE HOWTOCOPEWITHLIFES FRAGILITYANDINCONSTANCY4HROUGHLITERATURE WESAMPLEEACH ANDEVERYWORD FEELING EVENT WHEREASMUCHOFOURDAILYLIVES SLIPSBYINASTATEOFNUMBNESS)NTHISSENSE .USSBAUMARGUES SOMEWHATEXAGGERATINGLY OURDAILYLIVESARELESSINTENSETHAN OURTHOUGHTSANDFANTASIESWHENREADING,ITERATURETHEREFORE DOES JUSTICE TO THE COMPLEXITY OF DAILY LIFE LITERARY STYLISTIC DEVICES HELP US TO SHARPEN OUR MORAL PERCEPTION TO MAKE NUANCES TOCONTEMPLATEANDTOJUDGE THEREFOREHELPINGUSTO GAININSIGHTINTHEMORALLYRELEVANTINLIFE .USSBAUMSARGUMENTINFAVOUROFTHEIMPORTANCEOFLITERA TURESEEMSRATHERSERMONIC7HATSINTERESTINGISTHEPREMISE THATREPRESENTATIONS INHERCASELITERARYSTYLISTICDEVICES CAN PLAYAROLEINOURDAILYLIVES CANHELPUSTOWEIGHUPFACTORS


PATTERN PROSAICALLY WITHOUTANYFRILLS3TYLISTICDEVICESARENOT FORCEDUPONTHEPARTICIPANTSTHEYARENOTEXPECTEDTOBEHAVE DIFFERENTLY TOWEARDIFFERENTCLOTHES EXPRESSTHEMSELVESDIF FERENTLY4HEARTISTSDONTEITHER (OWEVER THEARTISTSHAVENOTABANDONEDREPRESENTATIONS ALLTOGETHER6AN(EESWIJKATTACHESGREATWEIGHTTOTHERECOG NIZABILITY OF THE LOCATIONS WHERE SHE STAGES HER ENCOUNTERS MARKINGTHEMWITHGARISH AESTHETICAL REPRESENTATIVEDEMAR CATIONS)NCONVERSATION #ERPACISSTRONGONALIMITEDNUMBER OF METAPHORS WHICH HE USES CONSISTENTLY /N ENTERING THE PUBLIC ARENA 3TEVENS FOCUSES ON HIS POSTURE AND HIS GAR MENTS RIGHTDOWNTOTHEVERYLAST@ANOMALOUSDETAIL!NDIN THECASEOF+LASEMA THEREPRESENTATIONCREEPSINTOHISACTI ONS SOTOSPEAKINTHE$OMVANDER,AAN MANNERINWHICH HEARRANGESTHEDISHESWHENDOINGTHEWASHING UP ORINTHE EREMITICAL INTERIOR OF HIS UTILITY ROOM UNDER THE STAGE FLOOR OF THEATREGROUP-UGMETDEGOUDENTAND !LLTHESEDEMARCATIONS METAPHORSANDAPPARELCANHARDLY BELABELEDREPRESENTATIONSOFMEETINGS7ECANHOWEVERINTER PRET THEM AS MARKINGS AS ARTICULATIONS OF DISPOSITIONS PER HAPSASSIGNSTHATSOMETIMESLITERALLYINDICATETOPASSERS BY THATPEOPLEAREMEETING%SPECIALLYIN*EANNEVAN(EESWIJKS ARTWORK THESEMARKINGSPLAYAREMARKABLEROLE

/NTHEFACEOFIT ITAPPEARSTHATREPRESENTATIONSDONOTPLAYA ROLEINTHEARTOFENCOUNTER/NTHECONTRARY WEHAVEALREADY DETERMINED THAT REPRESENTATIONS ARE ABSENT )TS ALL ABOUT MAKING PRESENT NOT ABOUT REPRESENTING 4HE ENCOUNTERS OF 3TEVENS #ERPAC +LASEMAAND6AN(EESWIJKFOLLOWANORMAL 60

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*EANNEVAN(EESWIJKSPROJECTSAREOFTENSUBJECTTOTHESAME MODEL54AMARKED OFFSPACEWHEREPEOPLECANMEETDURINGA CERTAINPERIODOFTIME UNDERVARIOUSCIRCUMSTANCESTHROUGH PRESENTATIONS MANIFESTATIONS DISCUSSIONS LECTURES QUIZZES GAMES COURSES WORKSHOPSETC4HEPARTICIPANTSAREFREETO GIVETHEIROWNINTERPRETATIONTOTHEVARIOUSDIFFERENTACTIVITIES 4HIS MAKES FOR MORE INSTEAD OF LESS COMPLEXITY WITH ROOM FORCONFUSIONANDMISUNDERSTANDINGS FORUNFORESEENEVENTS AND MOREIMPORTANTLY FORTHEPARTICIPANTSTHEMSELVESTOACT 6AN (EESWIJK MAKES IT PERFECTLY CLEAR THAT ITS ALL FOR A GOOD CAUSE WHICH SHE LABELS @AGGLUTINATION THE SAME TERM USED BY.ICOLAS"OURRIAUD(OWEVER "OURRIAUDEMPLOYSTHISTERMIN RELATIONTOANAESTHETICALORPLEASANTEXPERIENCE WHEREAS6AN (EESWIJKUSESITINREGARDTOAMORALDISPOSITIONWHICHPARTICI PANTSINHERPROJECTSCANDEVELOPANDTEST@7ORKINGONANEW MORALDISPOSITIONEMBRACINGMULTIFORMITY WITHOUTLAPSINGINTO RELATIVISMORFUNDAMENTALISM554HIS@AGGLUTINATIONCANRESULT IN A PLEASANT ENCOUNTER ALTHOUGH THIS DOES NOT NECESSARILY HAVETOBETHECASE)TCANALSORESULTINSTRONGCONFRONTATIONS CHALLENGINGFORMSOFSOLIDARITY "EARING IN MIND WHAT -AC)NTYRE HAS SAID WE CAN INTER PRET 6AN (EESWIJKS @AGGLUTINATION AS AN EVOLVING VIRTUE AS AMODERNSTRIVINGFORWHATTHEGOODLIFECOULDFURTHERENTAIL 4HISSTRIVINGISNOTFREEOFOBLIGATIONS6IRTUEETHICSSETSCERTAIN PRECONDITIONS4HESTRIVINGHASTOBEIMPLEMENTEDANDHASTO RESULTINCERTAINACTIONSBYTHOSEINVOLVEDWITHINVARIOUSSITU ATIONS WHICHSUBSEQUENTLYLEADSTOAWEIGHINGUPTHEFACTORS ANDARENEWEDSTRIVINGnYETANOTHEROFVIRTUEETHICSSPRECON DITIONSTHATTHEREISROOMFORTHEADJUSTMENTOFAMBITIONS !S A RESULT OF THE COMPLEXITY INVOLVED IN 6AN (EESWIJKS PROJECTS INTENTIONSARENOTALWAYSINSTEP&ROMTHEVIEWPOINT OFVIRTUEETHICS THISDISCREPANCYMAKES6AN(EESWIJKSPRO JECTSALLTHEMOREINTERESTING ASLONGASTHEFREEDOMTOADJUST AMBITIONSANDTOGEARINTENTIONSTOONEANOTHERREMAINSINTACT 4HISISNOTALWAYSANEASYMATTER)NVITATIONS FLYERS POSTERS 63

Good Intentions

WEBSITES FLAGS DEMARCATIONS 6AN (EESWIJK OFTEN MAKES MUCHOFTHESTRIVINGFOR@AGGLUTINATION CREATINGTHEIMPRESSION OFANEWANDFRESHZEST WHICHISTOHAVEANAPPEALINGEFFECT ONVIEWERS)TCAN HOWEVER PUTPRESSUREONTHEPARTICIPANTS ANDCANRESULTINTHATTHEDISCREPANCIESARESUPRESSED INSTEAD OFBEINGSEIZEDUPONASASTARTINGPOINTFORWORKINGONMORAL DISPOSITIONS )TCANTHAVEBEENEASYFOR+IRSTEN,EENAARSWHENITTURNED OUTTHATTHEREWASAHUGEGULFBETWEENHERINTENTIONSANDTHE EXPECTATIONSOFTHERESIDENTSOF$E3TRIP WHOMSHEWANTEDTO MEETANDPHOTOGRAPH!TTHEONSET HERINVOLVEMENTWITHTHE RESIDENTSWASMETWITHINCOMPREHENSIONANDINDIFFERENCE3HE WRITES@-ORETHANONCE PARENTSBROUGHTTHEIRCHILDRENTOTHE STUDIOFORMETOBABY SIT INFORMINGMETHATTHEYWEREGOING SHOPPINGANDTHATTHEYCOMEANDCOLLECTCHILDRENINACOUPLE OF HOURS TIME 4O BE SURE THEY THANKED ME FOR THE BEAUTIFUL PHOTOS OF THEIR OFFSPRING (OWEVER ) WAS DISAPPOINTED THAT THEYDIDNOTRESPONDTOMYINVITATIONTOVISITTHESTUDIOTHEM SELVES&ORMYPROJECTTOBETAKENSERIOUSLY ITWASNECESSARY THATTHEADULTSBECAMEINVOLVED/THERWISEMYSTUDIOWOULD SIMPLYBEANURSERYINDISGUISE7HATWAS)TODO56 ,EENAARSADJUSTEDHERAMBITIONS3HEADOPTEDADIFFERENT ATTITUDE ANDTRIEDTOINTERESTHERSELFINTHEPERSONSINHERFLAT BUILDING3HEACCEPTEDINVITATIONSTOVISITFLATRESIDENTSINTHEIR HOMES 4HIS ALSO LED TO HER TAKING PHOTOGRAPHS BUT THESE WERENOLONGERASTARTINGPOINT4HESTARTINGPOINTWASNOWTHE WORKINGONADISPOSITIONOFCURIOSITY BOTHFOR,EENAARSANDFOR SOMERESIDENTSOF$E3TRIP


/F COURSE OUTSIDERS CANNOT EXPERIENCE THESE CHANGES IN DISPOSITION WHICH ) HAVE JUST PRESENTED AS A MERIT OF 6AN (EESWIJKS PROJECTS &OR MANY THIS IS SEEN AS AN OBJECTION ,OGICAL BUTFORTHEFACTTHATTHISOBJECTIONPRESUPPOSESTHAT THEEXPERIENCEISPIVOTALTOTHEARTOFENCOUNTER7HICHITISNT %NCOUNTERSARENEVERABOUTEXPERIENCING NOTFOR6AN(EESWIJK

3TEVENS #ERPAC OR+LASEMA)NTHEIRPROJECTS THEENCOUNTERS ARENOTSOMUCHABOUTEXPERIENCINGASTHEYAREABOUTPRAC TICING (OWEVER THIS DOES NOT MEAN TO SAY THAT PARTICIPANTS CANNOTENJOYANEWEXPERIENCE-OREOVER THEOBJECTIONTHAT YOU@HADTOHAVEBEENTHERECERTAINLYDOESNOTAPPLYTO6AN (EESWIJK)NVARIOUSDIFFERENTWAYS SHEENDEAVORSTOINFORM THE PUBLIC ABOUT THE GOINGS ON IN HER PROJECTS AND TO GIVE INSIGHTINANYADVANCES 6AN (EESWIJKS PROJECTS WHICH CAN RUN FOR A NUMBER OF YEARS AREFRAGMENTEDATREGULARINTERVALS PREVIEWS PRESEN TATIONSANDOTHERMANIFESTATIONSTAKEPLACE EITHEROFTHEWHOLE PROJECTOROFSEPARATEPARTS0ARTICIPANTSPRESENTTHEIRPLANS DELIVERPRESENTATIONS STORIES VIDEOS PHOTOSANDPERFORMAN CES BRINGINGALLKINDSOFGOODINTENTIONSTOLIGHT ANDENABLING THE PUBLIC TO KEEP TRACK OF ANY ADVANCES IN THE STRIVING FOR @AGGLUTINATION4HEACTUALCONCRETEMARKSDESIGNEDBYOTHER ARTISTS UNDER THE AUTHORITY OF 6AN (EESWIJK ARE STRIKING AND OFTENSERVEASDEMARCATIONSORORIENTATIONPOINTSFORTHEWORK SPACE4HEDEMARCATIONSATTRACTATTENTIONIN6AN(EESWIJKS VIEW THEREISNOHARMINFURNISHINGTHESTRIVINGFORAGGLUTINA TIONWITHTHESEKINDSOFEXCLAMATIONMARKS&ORTHE&ACE 9OUR 7ORLDPROJECTIN#OLUMBUS /HIO !TELIER6AN,IESHOUT MADE THREE LARGE DUCK FACE LIKE BRIGHTLY COLORED POLYESTER PILLARS)NVARIOUSAREASINTHECITY THEPILLARSMARKEDTHEPLACES WHERE THE &ACE 9OUR 7ORLD BUS STOPPED WHICH TRANSPORTED SCHOOL CHILDREN 4HE BUS WAS FITTED OUT WITH COMPUTERS ON WHICHTHECHILDRENCOULDPLAYTHEGAME4HE)NTERACTOR7ITH THISCOMPUTERGAME WHICH6AN(EESWIJKHADDEVELOPEDTOGE THER WITH 6?LAB AND PHILOSOPHER -AAIKE VAN %NGELEN THE CHILDRENCOULDCREATETHEIROWNVIRTUALCITYSURROUNDINGS4HEY WERE NOT GIVEN FREE REIN HOWEVER )N THEIR DESIGNS THEY HAD TOTAKEINTOACCOUNTTHEOTHERCHILDRENSWISHES6IRTUALCHA RACTER -AX -OORE CONFRONTED THEM WITH POSSIBLE CONFLICTING CONSEQUENCESOFTHEIRDESIGNS ANDACTEDASANINTERMEDIARY 4HEDESIGNSWERESENTTOTHEBUSSTOPSDIGITALLY WHERETHEY

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COULDBEVIEWEDBYEVERYBODY7HETHERORNOTTHECOMPUTER COLLAGES WERE AESTHETIC WAS BESIDE THE POINT 4HE COLLAGES REFLECTEDNOTSOMUCHTHECHILDRENSINDIVIDUALWISHES ASTHE OUTCOME OF THEIR ACTIONS DURING THE GAME 4HE CREATION OF AN IMAGE WAS INTRINSICALLY LINKED TO AN APPEAL ON THE MORAL DISPOSITIONS OF THE PLAYERS 4HE COLLAGES FORMED THE RESULTS OF THESE DISPOSITIONS 0ERHAPS THESE COMPUTER COLLAGES CAN EVENREVEALWHOSHOWEDGENEROSITYINDEALINGWITHTHEOTHER CHILDRENS WISHES WHO IMPOSED THEIR OWN VIEWS WHO WERE GOODNEGOTIATORSANDWHOTRIEDTOSTRIVEFOR@AGGLUTINATION )N6AN(EESWIJKSPROJECTS THEEMPHASISLIESNOWONTHEPRE SENTATIONOFMORALDISPOSITIONS NOWONTHEREPRESENTATIONOF THESELF IMAGEOFPARTICIPANTS)TISIMPORTANTTOKEEPTHISDIS TINCTIONINMIND ESPECIALLYWHEREACOMPLEXPROJECT SUCHAS $E3TRIPIN6LAARDINGEN ISINVOLVED!NDSOITCAMETOPASSTHAT DURINGAMANIFESTATION APERFORMANCEBYA4URKISHMALECHOIR ANDAQUIZABOUTTHE7ESTWIJKWEREHELDSIMULTANEOUSLY4AGS BY2OTTERDAMGRAFFITIARTISTSCOULDBEADMIREDNEXTTOANEXHI BITIONOFOBJECTSPRODUCEDEXCLUSIVELYIN6LAARDINGENANDTHEN THEREWASTHEVIEWINGOFVIDEOSMADEBYLOCALRESIDENTSNEXT TOTHE7ESTWIJK#LOTHES,INE)TWOULDBEWRONGTOTELLMORAL DISPOSITIONS LETALONEADVANCESINTHESTRIVINGFOR@AGGLUTINA TION FROMTHEPERFORMANCEBYTHEMALECHOIRORTHECOLLECTION OFPRODUCTSFROM6LAARDINGEN"UTITWOULDBEEQUALLYWRONG TOREFRAINFROMDOINGSOINRESPECTTOARTIST0ETER7ESTENBERGS VIDEOSINTHE5IT4HUIS6IDEOMAGAZIJN!FTERALL THEPRODUC TIONOFTHEVIDEOSDEPENDEDONTHELOCALRESIDENTSREADINESS TOEXPLORETHENEIGHBOURHOODWITHACAMERAINHAND TOPAY EACHOTHERVISITSANDINTERVIEWPERFECTSTRANGERS4HEVIDEOS ARETHERESULTOFTHISREADINESSTOWORKATNEWFORMSOFSOLIDA RITY!NYADVANCESINTHEIRSTRIVINGSWEREVISIBLEINTHEVIDEOS *USTASINTHE&ACE 9OUR 7ORLDCOMPUTERCOLLAGES THEVIDEOS GAVETESTIMONYOFTHEMAKERSBOLDNESS CURIOSITY ANTICIPATION ORSHYNESS ANDTHEKINDOFAGGLUTINATIONITLEDTO

)TTURNSOUT6AN(EESWIJKSOEUVREISFULLOFUNFORESEENPRE SENTATIONS OF DISPOSITIONS AND OTHER REPRESENTATIONS 4HESE PRESENTATIONSANDREPRESENTATIONSOFFERINTERESTEDVIEWERSAND ARTCRITICSINSIGHTSINTHEPARTICIPANTSENCOUNTERS)TISHARDER FOROUTSIDERSTOGAININSIGHTINTOTHEMORELOW KEYENCOUNTERS OF3TEVENS #ERPACAND+LASEMA"UTFORTHECURIOUS ITISNOT IMPOSSIBLE &OR HIS ANTI PERFORMANCE 3TEVENS SUBMITTED AN APPLICA TIONFORPROJECTFUNDINGFROMTHE&ONDS"+6")NHISAPPLICA TION 3TEVENSREVEALEDHISHIGHLYPERSONALINTENTIONS)SSUEDAS APRESSRELEASE THEWORDINGOFHISAPPLICATIONWASMEANTTO BEJUDGEDBYANDTOPROVOKECURIOSITYANDDISCUSSIONAMONG ARTCRITICS3TEVENSHASNOQUALMSABOUTEXPLAININGWHATTHE ANTI PERFORMANCEMEANSTOHIM BYGIVINGANACCOUNTOFTHE QUESTFORTHEMEANBETWEENCONFORMITYANDNON CONFORMITY ANDOFTHECURIOUSFACTTHATINHISUNIQUEPERSONALSITUATION THISENTAILSNOTHAVINGTODOORCONTEMPLATEANYTHINGOUTOFTHE ORDINARYFORHIM7EWILLHAVETOTAKEHISWORDFORITnNOBODY ELSECANTESTIFYFORHIM3TEVENS AFTERALL DOESNOTINVOLVETHE PEOPLEHEMEETSONHISADVENTURES)NTHISRESPECT HISARTOF ENCOUNTERISWONDERFULLYSOLIPSISTIC #ERPACHASINCREASINGLYSTARTEDTOFOCUSONTHECOMMUNI CATIONTOWARDSAWIDERAUDIENCE(ISINITIALRELUCTANCETOBRING OUTINTOTHEOPENHISINTENTIONSWASSOGREATTHATHISSTATUS ASANARTISTWASATRISK!FTERALL HISMOTTO@LESSTOFORCE LESS TOORGANIZE LESSTOMANIPULATEIMPLIEDTHATHISINVOLVEMENT MOREORLESSMERGEDINTOTHEWORKANDARTISTICDEVELOPMENTOF THEARTISTSWHOMHECOOPERATEDWITHTHEREFORERENDERINGHIS CONTRIBUTIONTOTHEWORKOFOTHERARTISTSALMOSTINVISIBLE ESPE CIALLY IF #ERPACS INVOLVEMENT WAS COMPLETELY HUSHED UP )T TURNSOUTTHATHISRELUCTANCETOBEFORTHCOMINGWITHTHEPUBLIC HADTODOWITHSCREENINGOFFWORKINPROGRESS#ERPACBELIEVED THAT HIS BUDDING METAPHORS AND WORK METHOD WOULD NOT BE ABLETOSTANDUPTOTHEPUBLICLYDOMINANTMETAPHOROFSOCIAL SCULPTURE2ECENTLY $UTCHARTIST*ENNIFER4EEINVITED#ERPACTO

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ALLOWHISINVOLVEMENTWITHHERWORKTOCRYSTALLIZEINHEREXHI BITIONINTHE6AN!BBE-USEUMIN%INDHOVEN$URINGAPUBLIC PRESENTATION THEQUESTIONWASRAISEDOFHOW#ERPACSCONTRI BUTIONHAD@CRYSTALLIZED ANDWHETHERTHE@PURE4EESTILLEXI STED!SARESULT #ERPACHADTOCLARIFYHISMETAPHORS!GAIN IT BECAMECLEARTHAT#ERPACWOULDNOTYIELDTOTHEPUBLICSDESIRE TOREDUCEHISCONTRIBUTIONTO4EESWORKTOTHEVISIBLEPLASTIC ARTS &OR +LASEMA SHARING HIS INTENTIONS WITH OTHERS IS OF THE UTMOST IMPORTANCE !S A RESULT ACCOUNTS OF HIS ACTIONS CIR CULATEEASILY$E3TRAATCANBEFOUNDINARCHIVES FOUNDATIONS ANDWORKPLANSOFARTISTS THEATREGROUPSANDHOUSINGCORPO RATIONS (IS LIVING INTERVENTION UNDER THE STAGE FLOOR AND HIS ENTRY INTO A MONASTERY HAS LEFT A MARK ON THEATRE AND TELE VISION PRODUCTIONS BY -UGMETDEGOUDENTAND AMONG OTHERS IN THE 602/ TELEVISION SERIES (ERTENKAMP )N RECENT YEARS +LASEMA HAS BEEN WORKING ON A COLLECTION OF LETTERS TO HIS LOVED ONES 4HESE LETTERS CERTAINLY SHOULD NOT BE LABELED AS MAIL ARTTHEYARESEMI PUBLICDOCUMENTS OFFERINGADETAILED PICTUREOF+LASEMASINTENTIONSASANARTIST4HUS FORALLTHESE ARTISTS REPRESENTATIONSOFTHEIRGOODINTENTIONSCANBEFOUND


Conclusion

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@&AIREAVEC @MAKINGPRESENTAND@ADISPOSITIONOFSTRIVINGART CRITICSCANSURELYBENEFITFROMTHESEPHILOSOPHICALCONCEPTS 4HEYCANBEINSTRUMENTALTOUNDERSTANDINGANDASSESSINGTHE ARTISTSGOODINTENTIONS(OWEVER THEREREMAINSADRAWBACK INATTACHINGSOMUCHIMPORTANCETOTHERENDITION INATTACHING GREATER IMPORTANCE TO THE @HOW THAN THE @WHAT THE QUALITY OFTHEACTUALRENDITIONCANDISAPPEARFROMSIGHT)TISFORTHAT REASON THAT )LSE "ULHOF HAS RAISED AN IMPORTANT OBJECTION TO HER OWN PLEA FOR LEARNING TO DISTINGUISH BETWEEN THE QUALITY OFDISPOSITIONSh7ELIVEINANERAANDASOCIETYWHEREPEOPLE CANCOMPOSETHEIROWNREPERTOIRE3OMETIMESTHERESULTSARE INTERESTING SOMETIMES THEY ARE BORING OR EVEN DANGEROUS 4HEIDEASWHICH)HAVEDEVELOPEDIN6ANINHOUDNAARHOUDING THEREFORENOLONGERSUFFICE ATLEASTNOTENTIRELY)NDEED ITISSTILL POSSIBLETOCOMPARETHEQUALITYOFONERENDITIONWITHANOTHER )TS NOT COMPLETELY NONCOMMITTAL "UT IT IS ALWAYS EXTREMELY SUBJECTIVISTICv57 )TISONLYTOACERTAINEXTENTTHATTHEARTOFENCOUNTERCIR CUMVENTSTHISNON COMMITTALTRAIT)TISTRUETHATMOREPEOPLE DETERMINE THE ENCOUNTER MAKING THE @EXCELLING A COMPLEX ANDEXCITINGCOMBINEDACTION(OWEVER THECOLLECTIVE@MAKING PRESENTCANHAVEABORING STUPIDOREVENDANGEROUSRESULT "ULHOFHASSINCETAKENAREMARKABLESTEPTOSOLVETHISDISCRE PANCY3HEHASSTOPPEDSEARCHINGFORASTANDARDBYWHICHTO CURBTHISNON COMMITTALTRAIT3HEHASTAKENITASTEPFURTHER ABANDONINGHERQUESTFORMAKINGDISTINCTIONSALLTOGETHER3HE HASOPTEDFORRELINQUISHINGTHEREADINESSTOJUDGE INORDERTO @BREAKLOOSEFROMALLTHOSEINTERPRETATIONSANDJUDGMENTS! DECREATION RUN DOWN TOBECOMEEMPTYANDOPEN58 &OR"ULHOF THECONCEPTTHATTHEREISNOFINALTRUTHISCARRIED TOITSULTIMATECONCLUSION4HISISNOTALWAYSANOPTIONHOW EVER7EDONOTHAVETOFOLLOW"ULHOFSLINEOFTHOUGHTALLTHE WAYTOITSCONCLUSIONANDCOMPLETELYBREAKLOOSEFROMINTER PRETATIONS 4HE ART OF ENCOUNTER GIVES US NO CAUSE TO BREAK LOOSEINSTEAD ITINCITESUSTOINTERPRETTHINGSDIFFERENTLY!SWE

HAVEALREADYSEEN GOODJUDGMENTSCALLFORACAREFULWEIGHING UPOFALLFACTORS!NDTHEREARESUFFICIENTPOINTSOFDEPARTURE FORWEIGHINGUPTHEFACTORS INTHESHAPEOFPRESENTATIONSAND REPRESENTATIONSOFGOODINTENTIONS 7EHAVEALSOSEENAREMARKABLESHIFTIN!LASDAIR-AC)NTYRES POSITION(EPUTSTHEPURSUITOFOTHERGOODINTENTIONS OFUNFO RESEEN CONCEPTS OF @THE GOOD LIFE BEFORE THE ACTUAL ATTAIN MENT"ECAUSEWENOLONGERHAVEAUNIVOCALCONCEPTOFTHE GOODTHATWESTRIVEFOR HEFOCUSESATTENTIONONTHEDISPOSITION OFSTRIVINGFORTHEGOODnWHICHCOMESACROSSASASUBTERFUGE )TCOULDWELLBEASUBTERFUGE BUTONEWITHEXCITINGCONSEQUEN CES)N-AC)NTYRESTHEORY EVERYTHINGISIMMERSEDINASTRIVING DISPOSITION)FWECARRYHISLINEOFTHOUGHTFURTHER THENJUDGING ITSELFISDOMINATEDBYTHEPURSUITOFFURTHERQUALITY OFFURTHER EXCELLENCE ANDFRESHAPPROACHESTOJUDGING-AC)NTYRE LIKE "ULHOF INVITESUSTOWORKONADIFFERENTDISPOSITIONINREGARD TOJUDGING

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4HISISTHEDIRECTIONWESHOULDTAKE4HENJUDGMENTISFOCUSED MOREONASEARCHFORANDLESSONTHEMEASUREMENTOFQUALITY 4HENITCANHAPPENTHATTHEJUDGMENT VIRTUALLYDISAPPEARINGIN THEBACKGROUND COMPLETELYMERGESINTOTHESEARCHFORQUALITY )NFACT ITISNOTTHATEXTRAORDINARYnITISALREADYCOMMONPLACE INSOMEARTCRITIQUES INCLUDINGCRITIQUESONGENRESOTHERTHAN THE ART OF ENCOUNTER 4O DO SO ART CRITICS HAVE TO TAKE A DIF FERENTAPPROACHINWRITING LOOKFORANEWAPPROACHINARTCRI TIQUE&OREXAMPLE BYYIELDING EVENIFJUSTFORAMOMENT THEIR CRITICALSTANCEANDIMMERSINGINTHEARTOFENCOUNTER AS!RNE (ENDERIKSDID 4HENARTCRITICISMISEXPANDEDWITHTHEASSESSMENTOFGOOD INTENTIONS"UTINADDINGANEWDIMENSIONnOFWEIGHINGUPnTO THEJUDGMENTOFTHEARTOFENCOUNTER ANOTHERONEDISAPPEARS ADIMENSIONONWHICHWEHAVEALREADYEXPENDEDUNNECESSARY TIMEANDENERGYTHEWILLTOPASSJUDGMENT

Good Intentions


1

.IEUWENGAGEMENT INARCHITECTUUR KUNSTENVORMGEVING .!IPUBLISHERS 2OTTERDAM @4HISIS OFCOURSE SPOTON4HEBESTARTISTS THOSEWHOAREREALLYINVOLVEDWITHTHEIRARTANDWITH SOCIETY STANDALOOFFROMSOCIETY(ANSDEN(ARTOG*AGER @!LTIJDOPAFSTAND /VERDEGRENZENVAN HETENGAGEMENT IN.IEUWENGAGEMENTINARCHITECTUUR KUNSTENVORMGEVING .!IPUBLISHERS 2OTTERDAM P 3 !LASDAIR-AC)NTYRE !FTER6IRTUE!3TUDYIN-ORAL4HEORY3ECOND%DITIONWITH0OSTSCRIPT $UCKWORTH,ONDON P 4 $OMENIEK2UYTERS @$OEIETSIN-ETROPOLIS- P 5 $OMENIEK2UYTERS IN@(ORENEN:IENINDE6OLKSKRANT P 6 %LIZABETH0EYTON @2IRKRIT4IRABUNNNGIN3UPERMARKET ED2IRKRIT4IRAVANIJA &RANK(YDE !NTWI -IGROS-USEUMFàR'EGENWARTSKUNST :àRICH P 7 -IWON+WON /NE0LACEAFTER!NOTHER3ITE 3PECIFIC!RTAND,OCATIONAL)DENTITY 4HE-)40RESS P 8 +WON P 9 !RTHUR#$ANTO @4HE%NDOF!RTIN4HE0HILOSOPHICAL$ISENFRANCHISEMENTOF!RT .EW9ORK P 10 .ICOLAS"OURRIAUD 2ELATIONAL!ESTHETICS TRANSLATIONOF%STHÏTIQUE2ELATIONNELLE 0RESSEDURÏEL P 11 *ENS(OFFMANN @/VERRELATIES TOE EIGENINGENENANDEREZORGEN IN!RCHIS 12 !NNA4ILROE @$EKUNST DECURATORENDEGROTESCHOONMAAK IN.IEUWENGAGEMENT INARCHITECTUUR KUNSTENVORMGEVING .!IPUBLISHERS 2OTTERDAM P 13 !MONGOTHERS *ENS(OFFMANNDRAWSATTENTIONTOTHEINFLUENCEOFTHEARTWORK OF"RAZILIANARTISTS,YGIA#LARKAND(ÏLIO/ITICICAONTHEARTWORKOFARTISTSSUCH AS2IRKRIT4IRAVANIJAAND#ARSTEN(ÚLLER)NTHESANDS #LARKAND/ITICICAUSED OBJECTSTOINDUCETHEAUDIENCETOCOMMUNICATEANDTAKESOCIALLYENGAGEDACTIONS INAPUBLICSPACE(OFFMANN @/VERRELATIES TOE EIGENINGENENANDEREZORGEN IN!RCHIS 14 #ORNEL"IERENS @$EBEELDENDEKUNSTMOETONDERDUIKEN IN#ULTUREEL3UPPLEMENT .2#(ANDELSBLAD 15 2UTGER0ONTZEN .ICE/VERNIEUWENGAGEMENTINDEHEDENDAAGSEKUNST .!IPUBLISHERS 2OTTERDAM 16 #AMIELVAN7INKEL -ODERNE,EEGTE/VERKUNSTENOPENBAARHEID 35. .IJMEGEN P 17 *EROEN"OOMGAARD @$EUTOPIEVANDEARGELOOSHEID%ENKORTECURSUSENGAGEMENTIN $E7ITTE2AAF P 18 *EROEN"OOMGAARD @(ETPODIUMVANDEBETROKKENHEID PIN.IEUWENGAGEMENTIN ARCHITECTUUR KUNSTENVORMGEVING .AIPUBLISHERS 2OTTERDAM P 19 3VEN,àTTICKEN @)EDEREENGEÑNGAGEERD IN3TEDELIJK-USEUM"ULLETIN P 20 $RENTH(AGOORT 4H2U4HEORETISCHE2UIMTE NO ,OKAAL !NTWERP "REDA 21 $E3TRIPWASPARTOF6AN(EESWIJKSPROJECT5NTILWEMEETAGAIN/BJECTIVEOFTHISTEN YEAR PROJECT COMMISSIONEDBYHOUSINGCORPORATION7ATERWEG7ONENANDTHE 6LAARDINGEN#ITY#OUNCIL WASAMONGOTHERSTOINVOLVELOCALRESIDENTSINTHESIGNIFICANT CHANGESWHICHWERETOTAKEPLACEINTHENEIGHBOURHOODIN 22 #ORNELIS6ERHOEVEN -ERGENBEEN0OLEMISCHEOVERWEGINGENOVERINTIMITEIT !MBO "AARN P 23 #ORNELIS6ERHOEVEN !LLEENMAARKIJKEN%SSAYSOVERDEMENSALSTOESCHOUWER !MBO "AARN P 24 6ERHOEVEN P 25 6ERHOEVEN P 26 6ERHOEVEN P 27 0ONTZEN P 28 -IWON+WON P 29 -IWON+WON P 30 3VEN,àTTICKEN @)EDEREENGEÑNGAGEERD P IN3TEDELIJK-USEUM"ULLETIN P 31 #ATALOGUEEXHIBITION4ONG$ESLAGOM2OOSENDAAL P

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Good intentions : judging the art of encounter

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Good intentions : judging the art of encounter

Good Intentions

Good Intentions

With Good Intentions

With Good Intentions

With Good Intentions

Jack McDevitt - Good Intentions

Jack McDevitt - Good Intentions

Judging the Image: Art, Value, Law

Judging the Image: Art, value, law

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Rogue Nation: American Unilateralism And The Failure Of Good Intentions

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Judging God

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Judging Time

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