Do it yourself!
Lessons in participation in a dynamic labyrinth
In: Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Annemarie Kok in
Current site
Google Scholar
In 1962, the Dutch art audience was confronted with a remarkable participatory art project in the Stedelijk Museum Amsterdam: a dynamic labyrinth that visitors could enter, be part of and contribute to. This article analyses the particular relation between participation and instruction in the Dylaby exhibition. After a brief sketch of its particular setup, its ideals, plans and precursors are discussed, together with other contemporary proposals for labyrinths. This is followed by a short excursion into theoretical interpretations of participatory art, centering on the dynamics of freedom and control in this particular art practice. The third part focuses on procedures of guidance and instruction with regard to particular artworks. On the basis of historical source material forms of instruction are reconstructed and examined. Finally, the options of visitors to discover for themselves how to participate will be addressed, with a short detour to the pedagogical theory of Paolo Freire.
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| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 978 | 97 | 7 |
| Full Text Views | 51 | 3 | 1 |
| PDF Views & Downloads | 156 | 8 | 2 |
Do it yourself!
Lessons in participation in a dynamic labyrinth
In: Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Annemarie Kok in
Current site
Google Scholar
PubMed
In 1962, the Dutch art audience was confronted with a remarkable participatory art project in the Stedelijk Museum Amsterdam: a dynamic labyrinth that visitors could enter, be part of and contribute to. This article analyses the particular relation between participation and instruction in the Dylaby exhibition. After a brief sketch of its particular setup, its ideals, plans and precursors are discussed, together with other contemporary proposals for labyrinths. This is followed by a short excursion into theoretical interpretations of participatory art, centering on the dynamics of freedom and control in this particular art practice. The third part focuses on procedures of guidance and instruction with regard to particular artworks. On the basis of historical source material forms of instruction are reconstructed and examined. Finally, the options of visitors to discover for themselves how to participate will be addressed, with a short detour to the pedagogical theory of Paolo Freire.
| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 978 | 97 | 7 |
| Full Text Views | 51 | 3 | 1 |
| PDF Views & Downloads | 156 | 8 | 2 |
