{"product_id":"yapay-cehennemler_349984-html","title":"Artificial Hells","description":"\u003cp style=\"border-bottom-color: currentColor; border-bottom-style: none; border-bottom-width: 0px; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-left-color: currentColor; border-left-style: none; border-left-width: 0px; border-right-color: currentColor; border-right-style: none; border-right-width: 0px; border-top-color: currentColor; border-top-style: none; border-top-width: 0px; color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 10px; orphans: 2; padding-bottom: 0px; padding-left: 12px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eIn Artificial Hells, Claire Bishop traces the genealogy of participatory art. Following and critiquing the history of participation in contemporary art from Italian Futurism to Russian Constructivism, from Dada to Situationism, Bishop describes the 1990s as a \"social turn\" in the confrontation of aesthetics with ethics, and argues that the artist's autonomy is an inseparable part of the critical vein of collaborative art.\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: inherit; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"border-bottom-color: currentColor; border-bottom-style: none; border-bottom-width: 0px; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-left-color: currentColor; border-left-style: none; border-left-width: 0px; border-right-color: currentColor; border-right-style: none; border-right-width: 0px; border-top-color: currentColor; border-top-style: none; border-top-width: 0px; color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 10px; orphans: 2; padding-bottom: 0px; padding-left: 12px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003eArtificial Hells, which provides an in-depth analysis of critical turning points in participatory aesthetics, from the Situationist International to Happenings in Eastern Europe, Argentina, and Paris, and from the Community Arts movement of the 1970s to long-term educational projects by artists such as Thomas Hirschhorn, Tania Bruguera, and Paul Chan, generated much debate in art circles when it was first published.\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: inherit; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"border-bottom-color: currentColor; border-bottom-style: none; border-bottom-width: 0px; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-left-color: currentColor; border-left-style: none; border-left-width: 0px; border-right-color: currentColor; border-right-style: none; border-right-width: 0px; border-top-color: currentColor; border-top-style: none; border-top-width: 0px; color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 10px; orphans: 2; padding-bottom: 0px; padding-left: 12px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\"The good intentions of contemporary artists often pave the way to hell. Claire Bishop follows them and invites her readers to share her excitement about what she saw on her journey. Artificial Hells combines a vast historical knowledge with sharp analyses of individual artistic practices. She does this so well that by the time we finish the book, we realize we have started to love hell, as long as it remains artificial.\"\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"display: inline !important; float: none; background-color: rgb(255, 255, 255); color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: inherit; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"border-bottom-color: currentColor; border-bottom-style: none; border-bottom-width: 0px; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-left-color: currentColor; border-left-style: none; border-left-width: 0px; border-right-color: currentColor; border-right-style: none; border-right-width: 0px; border-top-color: currentColor; border-top-style: none; border-top-width: 0px; color: rgb(0, 0, 0); font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; letter-spacing: normal; line-height: 18px; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 10px; orphans: 2; padding-bottom: 0px; padding-left: 12px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: baseline; -webkit-text-stroke-width: 0px; white-space: normal; word-spacing: 0px;\"\u003e\u003cstrong style=\"border-bottom-color: currentColor; border-bottom-style: none; border-bottom-width: 0px; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-left-color: currentColor; border-left-style: none; border-left-width: 0px; border-right-color: currentColor; border-right-style: none; border-right-width: 0px; border-top-color: currentColor; border-top-style: none; border-top-width: 0px; font-family: inherit; font-size: inherit; font-size-adjust: none; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: bold; line-height: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;\"\u003e– Boris Groys \/Claire Bishop is an associate professor in the PhD program in Art History at CUNY Graduate Center in New York.\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003c\/b\u003e\u003ci\u003e\u003c\/i\u003e\u003cu\u003e\u003c\/u\u003e\u003csub\u003e\u003c\/sub\u003e\u003csup\u003e\u003c\/sup\u003e\u003cstrike\u003e\u003c\/strike\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Koç Üniversitesi Yayınları","offers":[{"title":"Default Title","offer_id":39409000677571,"sku":"9786059389518","price":74.08,"currency_code":"TRY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0523\/3950\/7395\/products\/9786059389518.jpg?v=1616017869","url":"https:\/\/yemkitabevi.com\/en-us\/products\/yapay-cehennemler_349984-html","provider":"YEM Kitabevi","version":"1.0","type":"link"}