Modalidades dirigidas y críticas de participación en el campo de las artes

Abstract

The text outlines a synthetic genealogy of participation supported in three moments: the utopian opening of the 60s, the directive closure of the late 70s and the years of resistance after the crisis of 2007, third moment in which practices of solidarity and critical revision of utopian radicalism have consolidated. In this temporal archipelago, participatory practices are delimited by opposing directed participation to critical modalities. A particular focus will be set on directed participation, which is considered to be overdue and to lead the work of participation in benefit of the legitimacy of what is instituted. By means of successive theoretical perspectives, the text problematizes the place of the instituted, underscores the excess of the imaginary and proposes a definition of the directed and critical modalities of participation in the field of arts.