Where do you stand?

The complexities of socially-engaged art practice

‘What are our motives? How do we make sure this isn’t just about us as artists and what we want?

People are standing on the wooded slopes of Dotrščina park, their faces turned up towards the late September sunshine. Some

In A Native Hill (1968) the American poet Wendell Berry writes about his decision to root his art where he

This guest post was written by Julia Rone, a Bulgarian friend who has been researching social activism in the wake

Why describe participation as a ‘restless’ art? My original reason was simply that the practice of professional artists involving others in

Someone recently suggested to me that I should speak of ‘Art in the Community’ because community art seemed to be

Time is an important factor in differentiating in participatory and community art. The shorter the project, the less potential for

Yesterday I facilitated a learning event at the Calouste Gulbenkian Foundation in London as part of its Sharing the Stage

ver más abajo para leer este texto en español… A performance about bodies and long lives opened Spain’s annual conference

Would you prefer to spend the next six months working on a project that would be artistically fulfilling but little