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Making community art in a time of coronavirus
Arlene Goldbard and I hosted our second online conversation last Thursday evening. It felt very different to me, as our roles were reversed, and this time it was she who was asking me questions. These conversations, initiated just because we can, have proved to be enjoyable and rewarding. Although having done one each, we’ve reached…
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A satisfactory philosophy of ignorance
If you know that you are not sure, you have a chance to improve the situation. Richard P. Feynman, The Meaning of It All, London 1998 When Arlene Goldbard and I planned a second online conversation – which you can see online here – our focus was on how community art could be made in the…
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Witnessing as resistance
Community art performance by Olho.Te, (Madeira) In A Restless Art I describe participatory art – the vast field that has spread from the source of community art – as a border land, a contested territory defined by large claims, shifting and unstable. Participatory art, by definition, stands in two places at once, and frequently more than two places.…
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The Roots of War: Continuing a conversation with Arlene Goldbard
A couple of weeks ago, I published a text on the ethics of participatory art by Arlene Goldbard on A Restless Art. It was a way of opening up to others a conversation that we’ve been having for several years. We agree on all the fundamentals of community art (at least I haven’t found any…
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Talking about the ethics of participatory art
When I invited Arlene Goldbard to take up this virtual residency, it seemed a simple idea, and so it has proved. It’s been a delight to have her presence here, and to be able to share her wisdom about ethics and cocreation. I was especially happy that she agreed to include her self-portraits, which catch something…
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François Matarasso 