Markus Miessen has been working on dismantling the notion of participation for a while now. The Nightmare of Participation (Crossbench Praxis as a Mode of Criticality) (Sternberg Press, 2011) comes after Did Someone Say Participate? An Atlas of Spatial Practice (MIT Press, 2006) and The Violence of Participation (Sternberg, 2007).
Tracey Emin wavers. In her art, and in her writing, she changes her mind, she repeats herself, and she can’t decide what she wants. For a female artist, wavering is dangerous: it can either be attributed to a tongue-in-cheek ultra-feminine approach, or it can be attributed to a lack of consistency.
After my review of Markus Miessens The Nightmare of Participation (Crossbench Praxis as a Mode of Criticality) (Sternberg, 2010) was published in the July/August 2011 issue of the Brooklyn Rail, I received a Facebook message from architect Carson Chan, the author of the books epilogue. I must review the next book in the already three-strong series, he said.