PArTiColAzioni

PArTiColAzioni si costituisce nel 2009 in maniera spontanea dal desiderio di un gruppo di giovani di proseguire un’ indagine artistica attorno al concetto di relazione. La maggior parte di loro, difatti, è intenta all’impiego delle dinamiche relazionali per la reinterpretazione e rivitilizzazione dello spazio pubblico. Il gruppo si presenta come un insieme eterogeneo di artisti in movimento. Le “particelle” che lo costituiscono sono come componenti chimici: in base alle loro proprietà e alle loro possibili composizioni possono produrre elementi differenti e generare differenti reazioni e coinvolgimenti. Il mondo dell’ arte è l’area dove avvengono tali scambi. Lo sviluppo processuale di PArTiColAzioni avviene attraverso dinamiche di riflessione, discussione e pianificazione, in una costante e propositiva ritrattazione delle ipotesi costituite, sino all’attuazione del progetto. e

[particolazioni]

Sono aperte dal 21 settembre e si chiudono il 31 dicembre le iscrizioni alla prima edizione del Premio IMAGONIRMIA di Elena Mantoni, voluto e finanziato dalla famiglia Mantoni a ricordo della figlia Elena. Con il titolo Spostamento variabile / Variable displacement, il premio IMAGONIRMIA fa tesoro dell’idea già cara a Elena, di “giardino” come bene in comune, e a partire da qui intende intercettare l’interesse di quegli artisti il cui lavoro si relaziona con i luoghi minori, intesi come terreno di affettività civile in dialogo tanto con il radicamento quanto con lo spostamento. Spostamento variabile / Variable displacement chiama a idee-progetto capaci di prendere in esame percorsi e ambienti di confine tra mondo urbano e rurale nel territorio di Chiaravalle e la sua abbazia cistercense e la periferia sud Milano, dove anche è possibile innestare le poetiche, le politiche e le pratiche del giardino nel suo portato reale e simbolico, generativo e rigenerativo. L’idea-progetto vincitrice si aggiudicherà: un soggiorno di 4 settimane nella residenza per artisti Fare – Open Care; il sostegno economico per la realizzazione dell’idea, accompagnamento curatoriale; un percorso formativo concordato, all’interno del Centro Internazionale Studi sul Paesaggio e sul Giardino Bergamo; innesto del progetto realizzato con il presente Bando, su soglia monastero | cantieri per il giardino planetario; pubblicazione cartacea con testi e immagini. Il Premio Imagonirmia è aperto a tutti artisti attualmente residenti in Italia, indipendentemente dalla propria nazionalità, senza restrizione di disciplina artistica e di età. E’ possibile presentare la domanda di partecipazione fino al 31 dicembre» ► un progetto di associazione IMAGONIRMIA di Elena Mantoni, in collaborazione con FARE / Open Care Frigoriferi Milanesi e Terzo Paesaggio, nell'ambito del progetto "soglia monastero | cantieri per un giardino planetario"

[particolazioni]

İŞ-PORTA* - A mobile cart for the neighbourhood Deadline: 15th January 2016 İŞ-PORTA is a participatory project developed by Sinop Sustainable Development

IS-PORTA è un progetto partecipativo sviluppato da Sinop Sustainable Development Association (Sinop / Turchia) e bi'bak (Berlino / Germania) ed è supportato da TANDEM Scambio culturale tra UE-Turchia *. Is-PORTA sarà caratterizzato da opere site-specific, che funzionano come carrelli mobili nel quartiere e consentono interazioni all'interno della comunità locale. Questi carrelli mobili o veicoli variano per forma e dimensioni e possono essere utilizzati per mostre, performance, interventi artistici o progetti partecipativi. Il contenuto del lavoro deve affrontare il passato, presente e futuro dei produttori locali, artigiani e negozianti e dei loro processi di produzione.

Vorremmo invitare artisti / designer / maker e collettivi creativi provenienti dalla Turchia e dalla Germania ad inviare proposte di intervento nello spazio urbano e che preveda la partecipazione della popolazione locale. Le opere proposte devono trattare le questioni delle economie locali,  e possono essere di tipo espositivo, performativo o di partecipazione e / o cercare di trovare un buon equilibrio tra forme artistiche e discipline.

[particolazioni]

Open Call: funding the cooperative city

Funding the cooperative city is a research program aiming at identifying new economic models for community-driven spatial transformation around Europe.

Funding the cooperative city  è un programma di ricerca destinato ad individuare nuovi modelli economici per la comunità  in Europa.

Finanziato dal programma europeo,  il progetto prevede tre workshop organizzati a Budapest, Roma e Madrid. I risultati di questa esperienza, insieme con le informazioni raccolte nei workshop precedenti tenutosi a Rotterdam, Berlino e Parigi daranno vita alla pubblicazione il "Finanziamento della Città Cooperativa".

Si prega di inviare il vostro contributo, sotto forma di testi, immagini e diagrammi su uno o più casi studio o teorici di nuovi modelli economici a sostegno dello sviluppo urbano di tipo partecipativo.

Scadenza: 30 ottobre

[uneven-growth]

COSTRUIRE LARGO MILANO by orizzontale (www.orizzontale.org) is the final phase of the project ZAC (zoneartistichecondivise.it) curated by Hubout in Cinisello Balsamo, Italy.

After a year of preparation, we turned Largo Milano into a construction site; the former parking lot of a car dealership, now self managed by the neighborhood association, has turned into an open lab. We realized some structures on the square, thanks to a construction workshop that involved both the inhabitants of Cinisello Balsamo and students of architecture from all over Italy. The new set of the square will configure the square for the next 3 years.  In 2017 the PGT (Piano Gestione Territorio), will enter an operative phase and it will totally change the district of Crocetta in Cinisello Balsamo.

Before the construction, a good quantity of recycled material was collected from other construction sites, companies and from the scraps of big events, such as Salone del Mobile

A vacant space has been transformed into an open laboratory for the community.

[particolazioni]

Public Art Experience - call for applications for an artistic director in residence at Fonds Belval (Luxembourg)

The project “Public Art Experience” is an innovative way of combining art and knowledge. This important international project deals with the place of art in contemporary society. Its location is Belval, a historic industrial site in the south of Luxembourg, which now hosts the “City of Science” as part of a new urban district developed around former blast furnaces.

“Transformation” is the theme chosen for the first launch of “Public Art Experience”. This theme resonates with the transformation that is visible in Belval, it echoes the passage from industrial capitalism to the capitalism of the knowledge society. Thus it provides the opportunity to ponder the meaning of art as an individual and a collective experience. The artistic director in residence will conceptualize the whole programme relating different individual projects to be carried out in residence to the theme of “transformation”.

Following a call for candidates, the artistic director will, on the advice of the artistic council, choose the artist and researchers in residence. The artistic director will involve the general public in the programme and will cooperate closely with the artistic council of “Public Art Experience”.

Time for the director's residency: 1st April 2014 - 30 March 2016.

Candidate profile:

- Experience in organizing exhibitions and colloquia, in supporting and managing projects;

- Integration into international networks in the world of art and culture;

- Excellent communication skills and ease in articulating issues related to a complex, plural world.

The language of “Public Art Experience” is French. Knowledge of English and/or German is expected.

Deadline for applications: 2 December.

Find all details online.

[particolazioni]

Temporary Activation Cusago Castle

PROPONI UN’IDEA

Fai parte di un’associazione o di un gruppo informale? Hai un’idea di laboratorio o di evento? Al TACC puoi trovare spazio a disposizione e tanta voglia di condividere esperienze ed energie. Proponici un progetto di laboratorio o di intervento artistico per la primavera o l’estate del 2014.

Qui sotto troverai un form da compilare, lasciaci il tuo recapito telefonico o la tua mail e descrivi brevemente la tua idea e come pensi di poterla sostenere economicamente. Ti contatteremo prima possibile!

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Laboratorio di pratiche sociali è un’iniziativa di Vessel che si terrà a Bari dall’11 al 23 novembre presso la sede di Progetto Mondialità. Il progetto, realizzato nell’ambito del programma Laboratori dal Basso promosso dalla Regione Puglia, consiste in due settimane di seminari e workshop gratuiti e aperti al pubblico.

Laboratorio di pratiche sociali nasce dal desiderio di indagare le modalità e le metodologie secondo le quali le pratiche collaborative, processuali e dialogiche, vengono messe in campo dagli operatori culturali e dalla società civile in contesti di crisi o di disagio, e di osservare l’impatto dei processi partecipativi e collettivi in diversi micro-contesti.

L’obiettivo del Laboratorio è valutare, grazie alla partecipazione di artisti e curatori impegnati nella sfera delle pratiche sociali, l’impatto che queste strategie hanno sulla società e sulla vita quotidiana di comunità e contesti specifici, condividendo metodologie di azione e di analisi della sostenibilità delle loro ricadute.

La necessità di creare formule autogestite dal basso si avverte in molte sfere della nostra società: per questo motivo il Laboratorio coinvolge agenti culturali intenti ad attivare processi inclusivi e collaborativi che superino i confini disciplinari sviluppandosi nella realtà.

Questa è la ragione che ci porta a innescare un momento di scambio fra artisti, docenti e istituzioni attraverso una serie di lezioni e di workshop che nell’arco di due settimane offriranno un’ampia panoramica di alcune tra le diverse istanze che animano attualmente il dibattito intorno al rapporto tra arte, società e sostenibilità.

Laboratorio di pratiche sociali vede la partecipazione di Claudia Balocchini, Haizea Barcenilla, Leone Contini, Anna Detheridge (Connecting Cultures), Claudia Eipeldauer (WochenKlausur), Daniele Lupo e Lisa Mazza (Lungomare), Gemma Medina, Maria Mur Dean (Consonni), Martina Reuter (WochenKlausur), Jon Rubin.

Scarica il programma

Laboratorio di pratiche sociali 11 – 23 novembre 2013

c/o Progetto Mondialità Piazza Garibaldi, 67 – Bari

Mappa

Un progetto di: Vessel – http://www.vesselartproject.org/

In partnership con: Amarelarte - http://www.undo.net/it/mostra/124507 Ammirato Culture House – http://www.ammiratoculturehouse.org/ Artcore – http://www.artcore.it/ Damage Good – http://damagegood.tumblr.com/ Manifatture Knos – http://www.manifattureknos.org/

Supportato da: Fondo Sociale Europeo – http://www.fondosocialeuropeo.it/ Regione Puglia – http://www.regione.puglia.it/ Arti – http://www.arti.puglia.it/ Bollenti Spiriti – http://bollentispiriti.regione.puglia.it/ Piano Straordinario per il Lavoro in Puglia 2011 – http://www.sistema.puglia.it/

Laboratorio realizzato con il contributo dell’Iniziativa Laboratori dal Basso, azione della Regione Puglia cofinanziata dalla UE attraverso il PO FSE 2007–2013.

[bigpera]

Lo scorso luglio il collettivo francese EXYXT è stato invitato a partecipare ad una residenza nell’ambito del progetto Hubout a Cinisello Balsamo (Mi). Insieme a dieci giovani Cinisellesi hanno sviluppato SPARC/ SPAzio di Riattivazione Cittadina, un luogo in cui le idee dei cittadini possono diventare realtà. Grazie ad un laboratorio, un’attrezzoteca, le informazioni giuste e le persone pronte a dare una mano, tutti possono realizzare il proprio piccolo desiderio di una città migliore.

SPARC/ SPAzio di Riattivazione Cittadina vorrebbe essere: 

Creatività/Costruzione/Partecipazione. Fare con la “F” maiuscola e le mani sporche. Un laboratorio di sperimentazione, condivisione e convivialità per sostenere le vostre piccole e grandi idee. Un’ attrezzoteca con tavoli da lavoro, attrezzi e macchinari per la lavorazione del legno, macchine da cucire, attrezzi da giardino, strumenti per video e fotografia. Un luogo di scambio di saperi, dove il professionista insegna all’amatore che insegna al dilettante, che però è esperto in qualcos’altro, e allora il ciclo ricomincia.

COME FUNZIONA?

Tutti possono partecipare, contribuendo con il proprio tempo, con le mani, con il sapere e, perchè no, con la donazione di materiali da recuperare. Tu ci racconti la tua idea per la città, Noi ti diamo lo spazio, il materiale e gli strumenti per realizzarla; ti diamo supporto per le pratiche burocratiche.

Incontrerai esperti artigiani o amatori che ti aiuteranno. Realizzerai la tua idea e scoprirai che insieme è più facile!

[zac-orizzontale-blog]

LARGO MILANO è un progetto di costruzione collettiva della piazza del quartiere Crocetta di Cinisello Balsamo (MI). Il nostro obiettivo è trasformare lo spazio in un laboratorio a cielo aperto in cui i cittadini possono incontrarsi, giocare, organizzare attività e corsi aperti a tutti.

La piazza è vissuta quotidianamente da numerose persone, molte sono le associazioni del quartiere che vorrebbero utilizzarla in maniera più continua ed efficace. Da queste esigenze nasce l’idea di fornire ai cittadini nuovi spazi, strumenti e strutture che permettono di vivere una piazza costruita collettivamente.

Perchè questo accada scegli dal 30 settembre al 6 ottobre il progetto “Largo Milano” alle votazioni di ZAC - Zone Artistiche Condivise a Cinisello Balsamo (MI)

http://zac-orizzontale.tumblr.com/

http://www.zoneartistichecondivise.it/

[particolazioni]

                                             HubOut - Laboratorio Creativo presenta al pubblico ZAC - Zone Artistiche Condivise, un progetto artistico che coinvolge la città di Cinisello Balsamo in un processo creativo partecipato tra cittadini e artisti in residenza per sperimentare strumenti innovativi di comunicazione e condivisione del sapere.

HubOut

Il progetto è promosso e sostenuto dal Dipartimento della Gioventù – Presidenza del Consiglio dei Ministri e dall’ANCI – Associazione Nazionale Comuni Italiani, nell’ambito di Creatività Giovanile, ed è realizzato dal Comune di Cinisello Balsamo e dal Comune di Fermo.

HubOut è un percorso formativo rivolto a 13 giovani che operano in ambito culturale. Curatori, grafici, designer, comunicatori, organizzatori, mediatori e fundraiser sono stati selezionati tra oltre 200 candidati per formare un laboratorio permanente finalizzato alla progettazione, gestione e comunicazione di progetti culturali rivolti al coinvolgimento di comunità, città e territori.

Il Laboratorio Creativo è attivo da novembre 2012 e ha sede presso il Centro culturale Il Pertini di Cinisello Balsamo (MI).

La piattaforma Web

HubOut ha sviluppato una piattaforma web di geo-democracy, con l’obiettivo di offrire alla città uno strumento di osservazione ed esplorazione urbana collettiva e di facilitare il dialogo tra i cittadini, istituzioni, comunità.

Il dispositivo viene sperimentato per la prima volta con la realizzazione di ZAC - Zone Artistiche Condivise, progetto che coinvolge gli abitanti di Cinisello Balsamo e alcuni artisti in residenza nella città del Nord Milano.

ZAC - Zone Artistiche Condivise

ZAC - Zone Artistiche Condivise intende coinvolgere la comunità locale di Cinisello Balsamo e chiunque vive la città esprimendo a partire dal 1 maggio 2013 idee e desideri in relazione allo spazio urbano. I contributi saranno resi pubblici in tempo reale e geolocalizzati sulla piattaforma con lo scopo di costruire una mappa, un archivio collettivo condiviso e una visione d’insieme della città.

Nell’estate 2013 HubOut inviterà in residenza quattro creativi, attivi nei campi dell’arte, dell’architettura e del design, ad analizzare le idee ed i desideri espressi. Gli artisti opereranno sia sul web, sia direttamente sul territorio con l'obiettivo di sviluppare, assieme ai cittadini coinvolti,quattro possibili risposte progettuali ad alcuni desideri individuati.

A conclusione del percorso, a settembre 2013, HubOut ha immaginato per Cinisello Balsamo un vero e proprio momento di campagna informativa non convenzionale riguardante i vari progetti. Ogni cittadino avrà così modo di informarsi sulle quattro idee creative e decidere direttamente, in un momento di scelta aperto alla città, quale progetto premiare. HubOut garantisce infine la realizzazione sul territorio del progetto vincitore.

Incontri

Durante lo svolgimento di ZAC - Zone Artistiche Condivise, HubOut promuove una serie di appuntamenti che accompagnano e approfondiscono alcune tematiche affrontate durante il processo. Gli incontri, aperti al pubblico, si svolgeranno presso il Centro culturale Il Pertini – sala incontri, piano interrato.

OPENPOLIS, Roma - Nuove forme di cittadinanza attiva

11 maggio 2013 - Orario: 16.00 - 18.00

IZMO, Torino - Creatività, sviluppo urbano e nuovi media

25 maggio 2013 - Orario: 16.00 - 18.00

BAM!, Bologna - Strategie culturali: analisi, progettazione e comunicazione per la cultura

8 giugno 2013 - Orario: 16.00 - 18.00

FITZCARRALDO, Torino / Alessandro Bollo - Marketing culturale e industrie culturali

21 giugno 2013 - Orario: 16.00 - 18.00

ZAC – Zone Artistiche Condivise

Presentazione del progetto e della piattaforma web:

a cura del team di HubOut.

Intervengono i curatori e i responsabili del progetto.

Sabato 13 aprile 2013 ore 15:30

Centro culturale Il Pertini, Auditorium piano interrato

Piazza Confalonieri 3, Cinisello Balsamo (MI)

Dal 15 aprile al 2 maggio il team HubOut è a disposizione dei cittadini per illustrare il progetto e offrire assistenza e supporto ai partecipanti.

Spazio HubOut, Centro culturale Il Pertini | secondo piano, tutti i martedì, mercoledì e giovedì (festivi esclusi) dalle 14.30 alle 18.30. Su appuntamento.

Come arrivare:

da M5 Bicocca, metrotranvia 31, fermata Villa Ghirlanda

da M1 Sesto FS, autobus 727, fermata via Musu

Il laboratorio creativo HubOut è composto da:

Eugenia Delfini, Jacopo De Gennaro, Elena Malara, Matteo Efrem Rossi, curatori

Gaia Deflorian, ufficio stampa

Elena Rossella Lana, Ilaria Salerio, Luca Santomauro, grafica, web e comunicazione

Arianna Errico, Sabrina Savoca organizzazione e fundraising

Francesca Maserati, didattica e mediazione

Responsabile del progetto: Massimo Capano, Unità Operativa Politiche per i Giovani, Comune di Cinisello Balsamo.

Direzione artistica: Matteo Balduzzi, Museo di Fotografia Contemporanea.

Formazione e coordinamento: Pierpaolo Forello, associazione MARSE Onlus.

Project manager: Cristina Bulessi e Chiara Buzzi.

ufficio stampa: Gaia Deflorian [phone]

[email protected]

www.hubout.it

facebook: HubOut

[particolazioni]

It's the Political Economy, Stupid 1 February–26 May 2013 Pori Art Museum Eteläranta, 28100 Pori, Finland T [phone] /1081  www.poriartmuseum.fi

Filippo Berta, Julia Christensen, Field Work, Yevgeniy Fiks/Olga Kopenkina/Alexandra Lerman, Flo6x8, Melanie Gilligan, Jan Peter Hammer, Alicia Herrero, Institute For Wishful Thinking, Sherry Millner & Ernie Larsen, Ólafur Ólafsson & Libia Castro, Isa Rosenberger, Dread Scott, SUPERFLEX, Zanny Begg & Oliver Ressler Curated by Oliver Ressler & Gregory Sholette Globalization, privatization, flexible work schedules, deregulated markets: 30 years of neoliberal capitalism has driven most of the world's governments to partly or wholly abandon their previous role as arbitrators between the security of the majority and the profiteering of the corporate sector. It comes as no surprise therefore that when problems in the US real estate and financial sectors resulted in a global financial crisis starting in 2008, governments all over the world pumped trillions of dollars into banks and insurance companies, essentially creating the largest transfer ever of capital into the private sector. One argument often cited for this unprecedented action was that many of these transnational corporations were "too big to fail." Still, despite these enormous expenditures, millions of people soon lost their homes and livelihood, and the economic and social damage has not yet ended. The cost of these bailouts is staggering. States borrowed capital to rescue financial institutions, resulting in growing national debt and virtual insolvency for some countries. Managing these budget deficits might have been possible if wealthy transnational corporations were forced to assist the economy, but neoliberal governments instead chose to introduce belt-tightening programs that radically reduce public services and social welfare. Needless to say, these austerity measures do not necessarily reflect the will of the majority, and increasing voter apathy is one serious side effect of such top-down decision-making. Today, we are facing a catastrophe of capitalism that has also become a major crisis for representative democracy. The very idea of the modern nation state is in jeopardy as the deterritorialized flow of finance capital melts down all that was solid into raw material for market speculation and bio-political asset mining. It is the social order itself, and the very notion of governance with its archaic promise of security and happiness, that has become another kind of modern ruin. Theorist Slavoj Žižek puts it this way: "the central task of the ruling ideology in the present crises is to impose a narrative which will place the blame for the meltdown not on the global capitalist system as such, but on secondary and contingent deviations (overly lax legal regulations, the corruption of big financial institutions, and so on)." [1] It's the Political Economy, Stupid [2] brings together a group of superlative artists who focus on the current crisis in a sustained and critical manner. Rather than acquiesce to our current calamity, this exhibition asks if it is not time to push back against the disciplinary dictates of the capitalist logic and, as if by some artistic sorcery, launch a rescue of the very notion of the social itself. [1] Slavoj Žižek, First as Tragedy, Then as Farce. Verso Books, London/New York 2009, p. 19. [2] The title is a re-phrasing by Slavoj Žižek of the phrase "It's the economy, stupid," a widely circulated phrase used during Bill Clinton's successful 1992 presidential campaign against incumbent President George Bush Senior. It's the Political Economy, Stupid launched a preview exhibition at Open Space in Vienna (2011), continued at the Austrian Cultural Forum in New York and Centre of Contemporary Art in Thessaloniki (both 2012). The publication It's the Political Economy, Stupid: The Global Financial Crisis in Art and Theory published by Pluto Press (UK) and Pori Art Museum is available at www.poriartmuseum.fi / www.plutobooks.com Contact: Coordinator Pia Hovi-Assad, T [phone] / [email protected]

[particolazioni]

    Without Reality There Is No Utopia February 15–June 2, 2013 Yerba Buena Center for the Arts 701 Mission Street San Francisco CA 94103 www.ybca.org

Behind the phrase that lends this exhibition its title there are two thinkers: Jean Baudrillard and Andreas Huyssen. The former defined simulation as the creation of something that "has no relationship to any reality whatsoever," and therefore predicted the replacement of "the real" by "the virtual." Huyssen picks up where Baudrillard left off, positing that, since reality has been lost and replaced by its simulacrum, utopia cannot exist. Hence the title, "if there is no reality, there can be no utopia." In other words, in the age of simulacra and virtual reality, the disappearance of the real also entails the end of the utopian.

In the age of information, actual reality has been supplanted by virtual reality, computer simulation and false narratives. Since the concept of utopia is based on the improvement of reality, the disappearance of the real also signals the end of utopia. Without Reality There Is No Utopia illustrates this premise by examining false narratives that masquerade as truth; the collapse of Communism in the 1980s; the recent financial crisis, which heralds the demise of capitalism; the contradictions inherent in geopolitics; and the explosion of democratic uprisings that rebounded around the world. The exhibition, organized into two asymmetrical sections, includes work by twenty-two international artists in photography, video, drawing, painting, collage and more. 

The first is The Description of the Lie, a skeptical introduction to the systems, which fabricate the simulacra of the real. In this section, the artists focus on how truth has been replaced by media-constructed false narratives. Judi Werthein's work portrays life in a settlement in a region of Chile peopled entirely by Germans exiled from their country after World War II; and Dora García fictionalizes the paranoid state of surveillance generated by the Stasi in the former East Germany. Other artists in this section are Rirkrit Tiravanija and Lene Berg. 

The second section bears the title Collapses and is divided into four sub-sections: communism, capitalism, geopolitics and democracy. As Huyssen aptly put it, "Utopia never dies alone. It takes its counter-utopia down with it." Therefore, when communism falls it takes capitalism down, and as capitalism collapses it drags democracy along with it, since the latter decided to cast its lot in with the former. At the same time, the expansive system that characterizes capitalism also implies its geopolitical implosion. It therefore seems that we should seriously consider the demise of utopia as the great problem of our time.

Artists in The Collapse of Communism examine the conditions leading up to, and the aftermath of, the fall of Communism. The Russian collective Chto Delat? (What is To Be Done?) encourages the viewer to critically engage with the events that lead to the demise of the Soviet system; paintings by Manolo Quejido were inspired by a trip to Cuba, where he asks, "What can we do right now with our desire for revolution?" and Ciprian Mureşan considers the paradoxes of history and memory from a post-Communist perspective. 

The Collapse of Capitalism focuses on the effects of the 2008 world financial crisis, with the premise that this was the inevitable result of a system based on consumerism, waste and the depletion of the planet's resources. SUPERFLEX Collective's humorous parody The Financial Crisis ironically suggests that the crisis is an illness that can be cured through hypnosis; and El Roto's cartoons, which mix irony, dark humor and sarcasm, create a stark portrait of the current situation in Spain. Other artists in this section are Daniel García Andujar, Jan Peter Hammer and Katya Sander.

The artists in The Geopolitical section examine the influences of colonialism and the West on recent geopolitical uprisings. Through a collection of posters, Zeina Maasri documents the civil war in Lebanon between 1975 and 1990; and in his drawings Fernando Bryce depicts colonial practices and their "civilizing" discourses. Other artists in this section are Ignasi Aballí, Zhou Xiaohu and Federico Guzmán. 

The Democracy section traces the effects of technology on communications, privacy and public assembly and their impact on democracy. Ed Hall's banners depict the micro-history of recent social struggles in England; Artur Żmijewski's videos of intentional public gatherings in various cities—Belfast, Berlin, Strasbourg, the West Bank, and Warsaw—feature playful and celebratory events; Oliver Ressler interviews philosophers, politicians, activists and concerned citizens, asking What is Democracy?;and Carlos Motta's photographs feature political graffiti on the walls of various Latin American cities.

Without Reality There Is No Utopia is organized by the Centro Andaluz de Arte Conteporaneo in Seville, Spain, where it was originally presented in 2011. Curators are Alicia Murría, Mariano Navarro and Juan Antonio Álvarez Reyes.

For more information on Without Reality There Is No Utopia, artist bios, and visitor information, click here.

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  The Society Without Qualities

Artists: Søren Andreasen, Archizoom Associati, Thomas Bayrle, Samuel R Delaney, Ane Hjort Guttu, Dave Hullfish Bailey, Jakob Jakobsen/Anders Remmer, Charlotte/Sture Johannesson, Jakob Kolding, Learning Site with Jaime Stapleton, Sharon Lockhart, Joanna Lombard, Palle Nielsen, Xabier Salaberria Curator: Lars Bang Larsen Because aesthetic problems can't be solved in the social sphere, art offers the possibility to re-think the concept of freedom at its limits.  The exhibition's title can be seen as an indictment of a state that fails to provide a life of quality for its citizens. Throughout modernity, rationalised society has converted qualities into functions and economic relations. Today, notions of the welfare state, 'Big Society,' the networked society, and ideas of growth and nationality are major social representations that underpin governmentality.  Also haunting the title is Robert Musil's novel The Man Without Qualities (1930–1942), in which the protagonist leaves it to the outside world to form his character. However in The Society Without Qualities, it is society rather than the human being that is deliberately left as a blank. Taking its starting point in the militancy and utopian proposals of the late 1960s, the exhibition thus focuses on how artists, activists and architects have devised new languages beyond the alternative, as a way of departing from origin myths and normative historical expectations. What if we desist from producing models that may improve society as it exists? What if we stop looking for 'the beach underneath the asphalt'? What would it mean for art and architecture to engage in historical processes and social struggles but proceed without a specific model or image of the society to come? Perhaps a non-utopianism, in which we check our impulse to project figurative qualities onto the future, would be suited to theorise what freedom exists over and beyond the existing reality principles. If—as Gilles Deleuze once remarked—being leftist means to orient oneself towards the future, to think a little further ahead, this is in a general sense also where the leftist political project intersects with art. Art can be defined as that which is not yet identified by culture at large, not yet known or purposeful. This doesn't mean that art is inherently leftist, only that art is not a thing or a product, that it isn't something stable and known. Thus the political left also lets its own project down when it forgets that it is in fact aligned with art in the struggle against capital's colonisation of the future. The aesthetic experience is an overlooked precondition for comprehending social conflict. When art addresses the future in speculative and skeptical ways, it refuses nostalgia and hope as sentimental compensations for an uncertain future. Perhaps one can incorporate disillusion into a politics of undoing that urges us to hear the unheard-of with our own ears, to touch the un-apprehended with our own hands.  The Society Without Qualities is part of the research project The New Model: An Inquiry, initiated by Maria Lind and Lars Bang Larsen in 2011. The New Model takes its point of departure in Palle Nielsen's adventure playground The Model. A Model for a Qualitative Society that took place at the Moderna Museet in 1968. Here, in the space of the museum, children were asked to construct their own social model. The Society Without Qualities revisits key themes and central concerns of The Model such as artistic research, the right to the city, the child as an active historical subject, and the critical use of the art institution. Participants in The New Model include Magnus Bärtås, Ane Hjort Guttu, Dave Hullfish Bailey and Hito Steyerl, who have been invited to make new work for the project.  The New Model: An Inquiry will continue at Tate Liverpool, 7 November 2013–2 January 2014.

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What are the possibilities for small cultural and arts centers to exist in today's world? Is there a way for them to exist without entering into the never-ending economic game of competition or selling them as social entrepreneurial enterprises?  Social Kitchen, 21st-century Social & Cultural Center, based in Kyoto, run by a group called "hanare," has a community café and bookstore, a space that can be used for lectures/workshops, debates, study groups, bazaars, exhibitions, meetings and parties, and a shared office. It was founded in 2010, after five years of successfully organizing a weekly café called kissahanare in the home of one of its members. Our vision has been to serve as a public place in a traditional sense, where people with diverse backgrounds gather, express themselves in creative ways, discuss emergent social issues, learn, and practice the ideas and skills that can transform our society in more just, fair ways.  As we enter 2013, we are struggling to keep our doors open. Yet we hope that our struggles offer the opportunity to think about our common challenges and to build solidarity among like-minded institutions across the world. What is Social Kitchen? - A site for convivial living Social Kitchen is a café where people can relax, enjoy delicious and healthy food, and buy fresh vegetables from our organic farmers. Our kitchen, which makes everyone happy, is the heart of our project. Our upcoming project, "Sunday Brunch" directs small-scale funding for cultural, artistic, and socially charged projects to use community meals as a device for bringing people together. More info * Sunday Brunch is based on a project called Sunday Soup started in Chicago by InCUBATE - A site for artistic and cultural events  Many cultural and artistic events take place at Social Kitchen. We particularly support young artists and their experimentation through the project OYE! (One Year of Exploration), carried out over the course of a year and led by an individual or group, selected from artists, researchers, farmers, and activists. More info - A site for Urban Education Social Kitchen is also a site for urban education through its Kitchen University series. Education here means both traditional liberal arts, as in the Picasom series (Publicness in Contemporary Art and Social Movements), as well as other workshops aiming to build skills for self-sustaining life, including farming, food preservation, and electricity production sessions. - A site for long-term projects In addition to many one-day events, Social Kitchen also supports long-term projects closely connected to everyday life. In the wake of the 2011 earthquake and nuclear disaster, loose collective of citizens gathered to form the first Working Group. Participating members in each Working Group propose and discuss ideas and put needed actions into practice over a one-year period. Working Groups 1 and 2: Earthquake and Nuclear Power Plant have carried out activities with internal refugees and volunteered for the restaurants in the disaster area, among other things, while attempting to integrate related concerns into daily life. These activities led to Working Group 1's excellent exhibition on the Kyoto mayoral election, conveying critical issues including the nuclear energy to voters and set up opportunities to discuss how citizens are involved in the making of the city, and the meaning of democracy itself. More info - A site for becoming better citizens Social Kitchen hosts many gatherings that encourage thinking critically and questioning Japanese society and politics and the current economic system. Those who run Social Kitchen and those who use it together engage in practices to become more critical citizens. This aspect is vital, given that Japanese society is becoming ever more conservative, and "anti-everything" (immigrant, neighboring countries, women's rights, poor people etc.). It is important to note that our current government firmly supports restarting other nuclear power plants even as the Fukushima catastrophe continues "in progress" and is nowhere near a resolution, and while still no one knows what harm the catastrophe will eventually cause. - A site for neighbors Neighborhood associations use Social Kitchen to discuss local topics and to socialize. School kids utilize Social Kitchen too, by using our restroom and drinking water, and sometimes playing games. Social Kitchen Organizational Forms Participants? Users? Citizens? Rather than having a small number of curators/organizers plan projects, Social Kitchen encourages people with great ideas to plan and realize the projects themselves. We aim to eliminate the standard hierarchy between organizers and participants. Financial Independence Freedom of expression is hardly existed in official institutions in Japan. In order to provide a space where freedom of expression is protected, and to support activities with the potential to transform society regardless of their "financial value," Social Kitchen finances itself primarily through its independent profitable activities (café, farmer's market, and catering; design and translation jobs; space rental; giving talks at cultural institutions), relying on a grant from the Ministry of Environment for only 15% of our income last year.  Workers' collective and non-profit Social Kitchen operates as a workers' cooperative. A workers' cooperative is based on the idea that all workers are also owners; everything from daily affairs to finances, work environment, and the future direction of the organization is discussed and decided by the workers. Social Kitchen has three full-time and and three part-time staff members. While workers engage decision-making processes, non-profit board members are also involved in shaping these decisions.  After two years, where we are now？ While there are many great projects being created at Social Kitchen, as our financial situation worsens, it has become indispensable to think about how we can survive. Yet, thinking about our survival gives us an opportunity to think about the fact that the visions we have for life, art and culture, free public space, new ways of working, new types of organization, and an economy based on fair exchange have little power in today's society. Yes, we want to continue Social Kitchen, and need to sort out how to improve our financial situation. But besides entering much-hated grant competitions, what can we do? Instead of becoming a part of the cycle of "upgrading" constantly, and of selling our uniqueness (eg: human networking, creative skills, and even social consciousness!) what are the possibilities? Why should art and culture always be defeated by logics of the economy? What would it look like to create our own logics of economy?  We would be happy to continue this conversation and get advice from you. So if you are interested, please email us at [email protected].

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Il progetto

Atti Democratici è una ricerca applicata sul rapporto tra Arte e Democrazia sviluppata da un network di artisti, curatori e teorici.

ATTI DEMOCRATICI 1st Biennale Democrazia – TORINO 24, 25 April 2009

ATTI DEMOCRATICI Festival Fabbrica Europa – FIRENZE 5-23 May 2009

ATTI DEMOCRATICI Lungomare – BOLZANO 16-30 October 2009

Atti Democratici è curato da: Angelika Burtscher, Luigi Coppola, Daniele Lupo, Judith Wielander. Le tappe di Torino e Firenze sono state curate da: Luigi Coppola e Marko Stamenkovic.

La democrazia è una forma di governo che si definisce nel suo farsi, un sistema imperfetto e fallibile, fondato sull’individuo e sulla sua azione soggettiva. Atti democratici coniuga “atto” e “democrazia”, atto inteso come un'azione soggettiva aperta al confronto e democrazia intesa come sistema di riferimento che attraverso l'azione dei suoi soggetti si ridefinisce e si modifica. L'atto democratico scaturisce da una forte volontà personale, è aperto al rischio, al conflitto, all'adesione o al dissenso e mira alla realizzazione o all'esplicazione di quanto è in potenza. La democrazia presuppone la cura dell'originalità di ciascuno dei suoi membri, cioè la capacità di dare origine a una messa in discussione, a una progettualità che produce rinnovamento e combatte la passività.

Il progetto presenta sperimentazioni, ricerche e pratiche artistiche sul rapporto tra Arte & Democrazia con l'intento di aprire spazi alla ridefinizione del sistema in cui agiscono e di rivendicare il ruolo e le responsabilità dei soggetti quali partecipatori attivi e imprescindibili alla democrazia.

CONTRIBUTI ARTISTICI: Angelika Burtscher & Daniele Lupo / Angie Waller / Annelisse Fifi / Ashley Hunt / Brave New Alps / Carlos Motta / Cesare Pietroiusti & Maria Rosa Sossai / Cornelia Durka & Ziga Testen / Dario Azzellini & Oliver Ressler / Dariusz Fodczuk / Dmitry Vilensky / Ei Arakawa & Nikolas Gambaroff / Franco Arminio / François Bucher / Galina Gonzalez / Gianluca e Massimiliano de Serio / Gustav Hofer & Luca Ragazzi / Jack Henrie Fisher & Popahna Brandes / Jenny Perlin / Jim Fetterley / Jim Finn / John Menick / Lauren Alexander / Lin + Lam / Luigi Coppola / Mary Billyou / Marzia Migliora / Paul Chan / Petra Bauer / Riccardo Biadene, Andrea Segre, Dagmawi Yimer / Segreteria Genoa Legal Forum / Shilpa Gupta / Stefano Savona / Susan Youssef / Tania Bruguera / Yael Davids / Yingmei Duan.

CONTRIBUTI TEORICI: Andrea Cusatelli / Andrés Morte / Andrés Neumann / Angelika Burtscher & Daniele Lupo / Benoît Lachambre / Branko Brezovec / Carlo Bachschmidt / Carlos Motta / Cesar Brie / Dariusz Fodczuk / Daniël van der Velden / Elvira Vannini / Esteban Mihalik / Ghalia Elsrakbi / Juan Esteban Sandoval / Lisa Parola / Luigi Coppola / Marco Angelucci & Thomas Kager / Marko Stamenkovic / Marco Valerio Amico / Merijn Oudenampsen / Michelangelo Pistoletto / Patricia Rivadeneira / Pietro Vertova, Stefano Lucarelli & Simone Vecchi / Sergio Durando / Yingmei Duan.

PROGETTO SUPPORTATO DA: TORINO: Prima Biennale Democrazia Torino / LOSS -laboratorio operativo sistemi sensibili / Cittadellarte – Fondazione Pistoletto / Sistema Teatro Torino / Lungomare Bolzano FIRENZE: Fabbrica Europa Firenze / LOSS -laboratorio operativo sistemi sensibili / Cittadellarte – Fondazione Pistoletto / Casa della Creatività di Firenze / Osservatorio per le arti contemporanee / Ente Cassa di Risparmio di Firenze /Ambasciata di Colombia in Italia . BOLZANO: Die drei Kulturabteilungen der Autonomen Provinz Bozen-Südtirol, Le ripartizioni alla cultura della Provincia Autonoma di Bolzano-Alto Adige / Abteilung für Italienische Berufsbildung der Autonomen Provino Bozen-Südtirol, Formazione professionale italiana della Provincia Autonoma di Bolzano-Alto Adige / Stiftung Südtiroler Sparkasse, Fondazione Cassa di Risparmio / Gemeinde Bozen-Amt für Kultur, Comune di Bolzano-Assessorato alla Cultura / Parkhotel Laurin / RFI- Rete Ferrovairia italiana / Jan Van Eyck Akademie, Maastricht (NL)

HANNO COLLABORATO AL PROGETTO: TORINO: Raffaella Bucci, Chiara Bobbio, Stefania Ressico, Emilia Obialero FIRENZE: Maurizia Settembri, Raffaella Bucci, Margherita Cavalli, Lorenzo Migno, Isabella Valoriani, Teresa Conti BOLZANO: Verena Malfertheiner, Laura Lovatel

CONTATTO [email protected]

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radioCona / Irena Pivka, Brane Zorman in collaboration with radio aporee / Udo Noll: Response Sound Maps/Walks [OdzivNa mesta] Aksioma / Project Space, Komenskega 18, Ljubljana, Slovenia Artistwalks (Sprehodi): Beograd (RS), Mostar, Sarajevo (BIH), Durres (AL), Zagreb (CRO), Ljubljana (SI) radioCona FM 88.8 MHz, Ljubljana November 6 - 15, 2012 Artworks presented in the exhibition project: It Is Time For Alert [Vrijeme za uzbunu]: Daniel Premec They Live (In Search of the text zero) [Oni žive (u potrazi za nultim tekstom)]: Maja Pelević, Milan Marković Fountains, Phantoms [Fontane, fantomi]: Ronald Panza, Mili Sefić Vitić_dances [Vitić_pleše]: Shadow Casters (Bacači sjenki) High Noon [Tačno u podne]: Zli bubnjari Word is a Weapon, Take It Out of Your Mouth [Beseda je orožje, vzemi jo iz ust]: Simona Hamer, Simona Semenič, Zalka Grabnar Kogoj Especially in August (Sidomos ne gusht): Ervin Hatibi mikro)B(eograd: Saša Markovič Mikrob Transmit Walk: Irena Pivka, Brane Zorman The sound maps are created by nine selected (art/activist) works based on sound perception. The artists extracted the sound that was primary in their work, and set it on the map of the selected locations that are conditioned by the creation of their works. The selected works share a critical perception of social and political events based on sound intervention into a public space. Response Sound Maps/Walks [OdzivNa mesta] maps are based on the radio aporee application. There are several modes of perception available to the visitor: a) a physical experience of the walks / artistwalks following marked paths composed of artworks in Ljubljana, Zagreb, Belgrade, Sarajevo, Mostar and Durres; b) a virtual walk on the map available at the gallery and online; and c) a combination of a physical and virtual experience. This exhibition project further pursues the creative endeavours of radioCona focused on sound and revisits possible relations to a concrete, physical space. The map formed investigates whether in situ works are able to establish a network of spatial connections that, by way of interactive sound maps, consolidate, complement or even transform the perception as well as the experience of a given space. The selected locations on which the works extend are not neutral, they have been inscribed within the reactions to political and social transformations. What is the actual strength of a directed hearing experience? How does a sound experience affect the perception of space? A visitor of Response Sound Maps/Walks [OdzivNa mesta] becomes a listener of the space that incorporates the reaction to what happens in the city. PROGRAMME: Tuesday, 6 November, 2012: - 8 p.m., Aksioma Project Space, Ljubljana, Opening with the introduction of the exhibition Wednesday, November 7, 2012: - 11.55 a.m., radioCona 88.8MHz, Ljubljana, FM and stream broadcasting launch - 6 p.m., Aksioma Project Space, Ljubljana, Udo Noll – lecture and artistwalk Saturday, November 10, 2012: - 11.55 a.m., Prešernov trg, Ljubljana, Daniel Premec: It Is Time For Alert (Vrijeme za uzbunu), sound public intervention From November 6, 2012: Zagreb (HR), Beograd (SR), Mostar, Sarajevo (BIH), Durres (AL), Ljubljana (SI) Artistwalks permanent exhibition - radioCona: Response Sound Maps/Walks [OdzivNa mesta] using application for android mobile devices - aporee.org/mfm/ In-situ tour artistwalks in Ljubljana, Zagreb and Belgrade: Wednesday, November 7 , 7 p.m., Aksioma / Project Space, Ljubljana Thursday, November 8,7 p.m., Cvijetni trg, Zagreb, (Kulturno Informativni Centar, Preradovićeva 5, Zagreb) Sunday, November 11, 2 p.m., Bezistan, Terazije, Belgrade radioCona: FIELD FM and stream broadcasting November 7 - 15, 2012, radioCona FM 88.8 MHz, daily from 11.55 a.m. – 9 p.m. radioCona:FIELD broadcast features selected and curated soundfield recordings and sound maps: AIR/EAR: international soundfield recordings exhibition and installation, curated by Ruben Marino Tolosa, June 2012, San Justo, Argentina Montreal Sound Map: interactive soundscape map of Montreal by Max Stein and Julian Stein (Canada) radio aporee stream: continous audio stream from aporee maps contributions by Udo Noll Response Sound Maps/Walks: selected artistwalks from the project radio aporee ::: Maribor Maps: sound map crated by Udo Noll and participants in Maribor in the frame of EPK 2012 Updated and daily programme: www.radiocona.si/ Response Sound Maps/Walks [OdzivNa mesta] and radioCona:FIELD are generated within the project radioCona: TRANS_Locative (2012) The works selected for the sound map Response Sound Maps/Walks [OdzivNa mesta] were remade on the initiative of Irena Pivka and Brane Zorman; Response Sound Maps/Walks [OdzivNa mesta] selection: Irena Pivka, Jasmina Založnik, Bernarda Cesar, Mela Žuljevič, Manja Ristič; radioCona:FIELD selection: Brane Zorman Exhibition web page: Slavko Glamočanin Design: Irena Pivka Speakers: Katja Kosi, Jelena Ličanin, Mario Kapelj, Pika Paris Kapelj, Simona Hamer Translation and Slovene proofreading: Melita Silič English proofreading: Eric Dean Scott Produced by: CONA Institute for Contemporary Arts Processing www.cona.si www.radiocona.si/ www.facebook.com/cona.zavod Partners: Sintoment Zagreb, NO FM Beograd, Abart Exhibition partner: radioCona: TRANS_Locative: Aksioma - Institute for Contemporary Art, Ljubljana radioCona partner: FIELD, RTV SLO oddajniki in zveze (RTV SLO Transmitters) Project partner: They Live (In Search of the Primal Text) [Oni žive (u potrazi za nultim tekstom)]: Maska Project and project units of radioCona: TRANS_Locative are supported by: Allianz Foundation Ljubljana Municipality – Department of Culture Ministry of Education, Science, Culture and Sport of the Republic of Slovenia

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In the seven years of its existence, The Outdoor Gallery of the City of Gdansk has invited thirty-one artists to propose interventions in the public realm, has judged eight projects worth to be realized and has produced five of them. Adam Budak, Jacek Dominiczak, Julia Draganović, Enrico Lunghi, Bettina Steinbrügge and Norbert Weber are the curators and architects invited by Laznia CCA and its Director Jadwiga Charzyńską to be involved in the long term development of the Lower Town area of Gdansk. They felt the need to present the first results of their activities to a broader national and international audience and to  bring together debates from varied perspectives and practices in an attempt to evaluate which roles artists, curators, designers and architects can actually play in revitalizing and regenerating urban space. On behalf of Laznia Centre for Contemporary Arts Adam Budak and Julia Draganović have called international artists, critics and curators to discuss THIS troublesome, uncomfortable and questionable RELEVANCE of Art in Public Space at Fabryka Batycki in Gdansk on 23–24 November 2012. Art beneath its protected context of the exhibition space is uncomfortable for almost everybody. So, why bother? Why don't we just stay inside our protected compound of the gallery? Or at least in a place that is clearly marked as an exhibition space? Why do time-based, immaterial interventions have to happen in public space, why do we have to challenge the public? Artists, curators and institutions have answered this question in very heterogeneous ways over the last decades: Public art was and is seen as non-commercial, as anti-elitist, as the attempt to embellish even poorly designed living environments, as an opportunity for a broader audience, which does not have the means to frequent museums or galleries, to access contemporary art, and many believe that public art has the power to change urban and social systems.  These are ambitious goals for such a doubtlessly difficult enterprise as public art. Beside the above quoted problems of public art activities, one has to take issues like economical inequity, uneven knowledge-distribution and tiredness of common participatory practices summoned by current democratic systems into account. Because one thing goes without saying: public art can't be carried out in solitude; interaction and collaboration are part of its nature. After a keynote speech by Chantal Mouffe, an opening performance by Maria Papadimitriou and lectures by Mika Hannula and Simon Sheikh, the conference will revolve around two main themes. Under the title "Close Encounters. Strategies of Collaboration," panelists will discuss the questions like: what are the strategies to access existing knowledge systems and to foster collaboration between different stakeholders? Which are the current best-practice models? The panel entitled "Museum without Museum. Tactics of Emancipation and Autonomy" will ponder the question, how far public art can be a complement or an alternative to museums and reflecting on strategies of enhancement for self-organization. Friday, 23 November 2012 17–18h Guided tour to Outdoor Gallery projects 18.30h Key-note speech by Chantal Mouffe: Critical Artistic Practices as Counter-Hegemonic Interventions 19.30h Presentation of the winning project of Pomorskie Metropolitan Rail competition 20h Opening performance Over! Leftover by Maria Papadimitriou  Saturday, 24 November 10–11h Lecture by Mika Hannula: Politics, Identity and Public Space –Critical Reflections In and Through the Practices of Contemporary Art 11–13h Panel Discussion: Close Encounters  Strategies of Collaboration Mel Chin, Fulya Erdemci, Tone Hansen,Barbara Holub, Aneta Szylak, Joanna Warsza 15–16h Lecture by Simon Sheikh: Intervention, Interruption, Disruption, Pause. Possible Approaches to Artistic and Curatorial Strategies and Tactics to Public Art in the Post-Public Condition 16–18h Panel Discussion: Museum without Museum Tactics of Emancipation and Autonomy  Cecilia Alemani, Claire Doherty, Maria Papadimitriou, Bert Theis, Mirjam Varadinis Symposium moderated by Adam Budak and Julia Draganović Conference registration: [email protected] / closes on 19 November, 2012.  Admission Free! Curators: Julia Draganovic & Adam Budak Coordination: Anna Szynwelska, [email protected] Press contact: Katarzyna Steńczyk, [email protected] Laznia Centre for Contemporary Arts Ul. Jaskolcza 1 80-767 Gdansk, Poland Project supported by the Ministry of Culture and National Heritage of the Republic of Poland.