The Embroidered Digital Commons is a collectively stitched version of A Concise Lexicon of/for the Digital Commons by the Raqs Media Collective (2003). The project seeks to hand-embroider the whole lexicon, term by term, through workshops and events as a practical way of close-reading and discussing the text and its current meaning.

Would you like to stitch the Digital Commons with us?

Furtherfield invites all gallery visitors to take part in one or more of our Saturday morning embroidery sessions and come together to stitch the term ‘Meme’ from the lexicon for the Digital Commons,
chosen in relation to the theme Being Social. A cultural ‘meme’ is the way in which an idea spreads through social networks.

We are inviting crafters, programmers, artists, makers, and people interested in working collaboratively, or taking part in participatory projects to each stitch a few words of the term meme, as described below. The resulting patches will then be turned into a short film depicting the sequence of embroideries.

Meme

“Meme: The life form of ideas. A bad idea is a dead meme. The transience as well as the spread of ideas can be attributed to the fact that they replicate, reproduce and proliferate at high speed. Ideas, in their infectious state, are memes. Memes may be likened to those images, thoughts and ways of doing or understanding things that attach themselves, like viruses, to events, memories and experiences, often without their host or vehicle being fully aware of the fact that they are providing a location and transport to a meme. The ideas that can survive and be fertile on the harshest terrain tend to do so, because they are ready to allow for replicas of themselves, or permit frequent and far-reaching borrowals of their elements in combination with material taken from other memes. If sufficient new memes enter a system of signs, they can radically alter what is being signified. Cities are both breeding grounds and terminal wards for memes. To be a meme is a condition that every work with images and sounds could aspire towards, if it wanted to be infectious, and travel. Dispersal and infection are the key to the survival of any idea. A work with images, sounds and texts, needs to be portable and vulnerable, not static and immune, in order to be alive. It must be easy to take apart and assemble, it must be easy to translate, but difficult to paraphrase, and easy to gift. A dead meme is a bad idea.”

About the Project

In 2003 the Raqs Media Collective wrote A Concise Lexicon of/for the Digital Commons. The full lexicon is an A-Z of the interrelationship between social, digital and material space. It weaves together an evolving language of the commons that is both poetic and informative. The terms of the lexicon are: Access, Bandwidth, Code, Data, Ensemble, Fractal, Gift, Heterogeneous, Iteration, Kernal, Liminal, Meme, Nodes, Orbit, Portability, Quotidian, Rescension, Site, Tools, Ubiquity, Vector, Web, Xenophilly, Yarn, and Zone.

The concept of the digital commons is based on the potential for everything that is digital to be common to all. Like common grazing land, this can mean commonly owned, commonly accessed or commonly available. But all of these blurred positions of status and ownership have complex repercussions in the field of intellectual property and copyright. The commons has become synonymous with digital media through the discourse surrounding free and open source software and creative commons licensing. The digital commons is a response to the inherent ‘copy n paste’ reproducibility of digital data, and the cultural forms that they support. Instead of trying to restrict access, the digital commons invite open participation in the production of ideas and culture. Where culture is not something you buy, but something you do.

The embroidery is a slow reproduction of A Concise Lexicon of/for the Digital Commons text, transmitting the meme of the lexicon to hundreds of people stitching across the globe. In this way the work is a cultural meme, transmitting ideas through thinking and making as part of a distributed participatory project. The whole text is easy to take apart, divide into small sections, stitch, and reassemble through fabric and film. It is easy to translate into different formats, but hard to translate metaphor into different languages.

The poetic and metaphorical aspects of the digital commons are recontextualised through close-reading, close-listening, discussion and shared making. The ideas are most effectively explored when they are expressed and illustrated using and multiple layers of meaning and wit. The meme of the digital commons travels fast through networks that investigate the language of shared production and distribution, for example crafters and open source programmers are committed embroiderers of the digital commons. The meme of the digital commons has also spread across all areas of cultural production including music, design and art.

About the Artists

Ele Carpenter is a curator based in London. Her creative and curatorial practice investigates specific socio-political cultural contexts in collaboration with artists, makers, amateurs and experts. She is a lecturer in Curating at Goldsmiths College, University of London. Since 2005 Ele has facilitated the Open Source Embroidery project using embroidery and code as a tool to investigate the language and ethics of participatory production and distribution. The Open Source Embroidery exhibition (Furtherfield, 2008; BildMuseet Umeå Sweden, 2009; Museum of Craft and Folk Art, San Francisco, 2010) presented work by over 30 artists, including the finished Html Patchwork now on display at the National Museum of Computing at Bletchley Park. Ele is currently facilitating the ‘Embroidered Digital Commons’ a distributed embroidery exploring collective work and ownership 2008 – 2013.

Emilie Giles is an alumnus of MA Interactive Media: Critical Theory and Practice at Goldsmiths College. Since graduating in 2010 her time has been spent co-organising MzTEK, a women’s technology and arts collective, as well as completing an internship with arts group Blast Theory and working for social video distributors Unruly. She is currently involved with TESTIMONIES, a project which explores oral history in relation to the 2012 Olympic and Paralympic Games largely through social media. Emilie’s own practice revolves around notions of pervasive gaming, married with urban exploration and psychogeography. Her most recent focus lies in taking fundamental gaming principles from Geocaching and exploring the consequences of adding an emotional dimension.

Reference

Raqs Media Collective, 2003, A Concise Lexicon of/for the Digital Commons. In: Sarai Reader 03: Shaping Technologies, ed. Monica Narula, Shuddhabrata Sengupta, Jeebesh Bagchi, Ravi Vasudevan, Ravi Sundaram + Geert Lovink, Sarai-CSDS Delhi/WAAG Amsterdam, 2003. p365. Available here.

Furtherfield Gallery is supported by Haringey Council and Arts Council England.

The relation between artist and audience has been at the heart of the research of artists for more than a century. Over the last decades there have been innumerous experimentations and a variety of critical approaches regarding the questions of authorship, the levels of involvement of the audience in production and  in decision processes. Often these researches take the form of temporary interventions rather than objects meant to last in time. Aiming beyond the strategies of the art market, to find funding for this kind of projects is challenging.

The goal of the Prize is to reward artists with extraordinary merits in the research of new methods to create awareness about common issues, the capacity to create a sense of community and to attract attention on questions of responsibility and freedom of action giving their initiative an outstanding  esthetic form. Beyond receiving the prize money and international recognition, the award winners  are invited to contribute to the research on participatory practices in the community that is financing the award – in the Region Emilia–Romagna.

The award was initialized by the Legislative Assembly of the Emilia-Romagna Regional Government in collaboration with LaRete Art Projects and Goodwill. The biennial prize is curated by Julia Draganovic in collaboration with Claudia Löffelholz.

The Award was created in 2010 and is open for artists of any age and nationality. Nominations for the award are made by a committee of international art experts and professionals from the world of contemporary art. An international jury selects a short list of three finalists. The finalists are  invited to spend two weeks in one of the cities of the Italian region of Emilia-Romagna, in order to get to know local communities and their living situations and to, consequently, develop  a project for this specific area.

“Participation is a challenging term, as it defines the relation between individuals and groups and it clearly questions structures of power and mutual responsibility. In the art world these issues rise questions regarding the roles and the distribution of power and knowledge between experts and amateurs and about innovative strategies of self-improvement. Obviously these experiments reflect processes we are about to face in society in general, as knowledge tends to be more and more compartmentalized and we need to develop new forms of exchange. The International Award of Participatory Art offers a promising field of experimentation for these questions of common interest. — Julia Draganovic

SoundTransit is a collaborative, online community dedicated to field recording and phonography. Phonography is the art of recording sounds from the environment around us, with an emphasis on the unintentional sounds which often go unnoticed in our daily lives. An international community of phonographers collect and share their recordings, with interests ranging from recordings of natural or urban environments to improvised situations or soundwalks, to the resonance of solid objects or the Earth’s atmosphere.

In the BOOK section of this site, you can plan a sonic journey through various locations recorded around the world. In the SEARCH section, you can search the database for specific sounds by member artists from many different places. If you are a member of SoundTransit, you can also CONTRIBUTE your recordings for others to enjoy. The Creative Commons Attribution license encourages the sharing and reuse of all sounds on the website.

During 2010, SoundTransit’s previous host in the Netherlands quadrupled the rent for the SoundTransit server, forcing it to move or consider closing. Turbulence.org offered its support and during 2011 has been working together with SoundTransit to get everything up and running again

To listen to over 2,000 recordings by 471 artists from around the world, experience a unique way of traveling via sound, and to find out how you can contribute to the SoundTransit project, please visit http://turbulence.org/soundtransit/.

Helen Thorington
Jesse Gilbert
Jo-Anne Green
Turbulence.org

In recent years there has been increased attention to so-called ‘socially engaged art practices’. Equipped with a sense of urgency and intent, artists and curators develop work with the support of communities or groups to tackle political and social issues. While the success of these projects are not easily measurable, they often reiterate the role of artist/ curator as protagonists of specific forms of social change, which posits a direct contrast to recent activism which carefully distances itself from any leader-based political organizational categories.

Pascal Gielen, co-editor of the recently published volume Community Art, will draw out a critical cartography of community art and will speak about the power and impotencies of this phenomenon. Since modernity, art and community, artist and social work have had an ambivalent relationship. Can art have a role in building communities? What is the political potency of forms of art that strive to integrate individuals and social groups?

In the book Community Art: The Politics of Trespassing (Paul De Bruyne, Pascal Gielen, eds.; Valiz, 2011) the Italian philosopher Antonio Negri states ‘Every kind of change belongs to a form of community art’. This is the inverse of the premise that community art can be an integral component of desired social changes. Negri confronts community art, its supporters and critics with a challenging responsibility, and extends this to include everyone who wants to bring about change in social, political, economic, technological or ecological arenas. Communal and artistic go hand in hand.

In Community Art, visual and performing artists and theorists employ diverse modes of thinking and writing to explore the practices and concepts of the phenomenon of community art in western and non-western societies. The book does not offer a cut-and-dried theoretical model, but presents a new critical reformulation of community art in society.

Community Art is part of the Arts in Society series / Antennae by Valiz

Editors: Paul De Bruyne, Pascal Gielen; Authors: Tilde Björfors, Bertus Borgers, Paul De Bruyne, Luigi Coppola, An De bisschop, Miguel Escobar, Varela, Jan Fabre, Alison M., Friedman, Pascal Gielen, Sonja Lavaert, Carol Martin, Antonio Negri, Alida Neslo, Tessa Overbeek, Lionel Popkin, Richard Schechner, Hein Schoer, Ricky Seabra, Jonas Staal, Klaas Tindemans, Luk Van den Dries, Quirijn Lennert van den Hoogen, Hans van Maanen, Bart van Nuffelen, Karel Vanhaesebrouck, Zhang Changcheng; Design: Metahaven; 374 pages, sewn paperback, 21 x 13,5 (hxw), Eng; Supported by Fontys College for the Arts; ISBN 978-90-78088-50-9, $ 28,95, published by Valiz Amsterdam, distributed in the US by D.A.P. New York

Pascal Gielen is professor of sociology of the arts and director of the research centre Arts in Society at Groningen University (NL), and also director of the research group and book series ‘Arts in Society’, Fontys College for the Arts, Tilburg (NL).

Publications series Arts in Society:

Gielen, De Bruyne (eds.), Being an Artist in Post-Fordist Times (NAi Publishers, Rotterdam 2009)
Gielen, The Murmuring of the Artistic Multitude: Global Art, Memory and Post-Fordism (Valiz, Amsterdam 2009)
De Bruyne, Gielen (eds.), Community Art (Valiz, Amsterdam 2010)
Forthcoming spring 2012: Gielen, De Bruyne (eds.), Teaching Art in the Neoliberal Realm: Realism versus Cynicism (Valiz, Amsterdam 2012).

Thanks to Anne Barlow, Executive Director, Art in General and Vera Zolberg, Professor of Sociology, New School for Social Research.

The objective of this competition is to uncover new public realm art, architectural and environmental approaches to riverscapes at two scales: regional and intimate. Each designer/artist/team will produce an overall strategy for connecting and relating the four defined sites (and those between) while paying attention to the unique and individual characteristics of each community through site specific work. At its core, the competition asks three main questions of its designers/artists/teams:

• What models from Hamburg could be applied to our region to assist us in envisioning inventive and progressive solutions to ongoing issues common to post-industrial cities?
• How can we utilize the river as the catalyst for awareness, change and growth within a region considering the following areas: economy, politics, environment, community, agriculture, transportation, public space, art, recreation, mapping, graphics?
• How can small-scale, local river art/environmental installations have a lasting effect on a community and its collective visions of the future?

We have identified four primary issues that face both of our regions:

• Environment
• Diversity and Connection
• Creative Economies
• Collective History and Education

Each submission must identify and utilize at least one of these frames for their entry.

Entrants will design and present an approach to addressing this (above selected) issue using art, science, planning or other inventive means first at a regional scale. Then, focusing on one site (of your choice), designers/artists/teams will design a small-scale artistic/architectural/scientific installation to be placed along the river addressing the topic of choice and site specific issues.

Site committees have been formed for each location to provide a specific site criteria, provide additional information and Question/Answer period and to represent their community as judges on the competition. These committees are made up of a cross-section of members of the community from citizens to planners to organizers.

Deadline: December 10, 2011

Eligibility:

Experimental Honors Planning Design Award: This $2,000 competition is open to designers/artists/teams internationally.

Design-Build Awards: open to designers/artists/teams from the northeast region of the USA: CT, MA, NH, VT, ME, NY, NJ, RI. Four $7,500 awards.

Contact: Thom Long
tlong [at] hampshire.edu
Phone: 001 413 559 5376

Five Colleges Inc.
893 West Street
Amherst MA 01002
USA

Mutualisms is a collaborative curatorial project organized by Lise Haller Baggesen and Kirsten Leenaars, exploring the ways in which networks of friendship and artistic collaboration can be used as a model for curating. Mutualisms is looking into artistic strategies for finding hospitality and exchange in the context of contemporary art practices as well our own social domain.

Eight Dutch and eight American artists/artist duos were paired and worked together to create a collaborative presentation of their works. Iris Kensmil & Carol Jackson, Rune Peitersen & Mark Jeffery & Judd Morrissey, Marjolijn Dijkman & Lora Lode/Kevin Kaempf, Jonas Ohlsson & Selina Trepp, Magnus Monfeldt & Harold Mendez, Maurice Bogaert & Trevor Gainer, Caroline Stikker/Philippine Hoegen & Aron Gent and Saskia Janssen/George Korsmit & Adelheid Mers.

Mutualisms Symposium: A conversation with the participating Mutualisms artists will be followed by a panel discussion on Art & Reciprocity moderated by Dutch art critic Erik Hagoort and Chicago based writer Caroline Picard.

Art & Reciprocity

In general reciprocity is valued positively, and so in contemporary art. Reciprocity has become a buzzword, especially since the rise of interactive art practices, in which the public in one way or another is invited to participate. The appreciation of reciprocity has challenged the conventional distance and hierarchy between art, artists and the public. It has also triggered collaboration among artists. Yet, if reciprocity becomes normative, we may start to feel uneasy. Expectations for ’something in return’ can restrict freedom and autonomy. In the arts a strong tradition has opposed reciprocity; art’s autonomy should prevail above exchange. So, the question is: what about art and reciprocity? Panel to be announced on our blogs at a later date.

Mutualisms blog: http://mutualisms.wordpress.com/
Art & Reciprocity blog: http://artandreciprocity.wordpress.com/

For more information: lise [at] baggesen.org and kirstenleenaars [at] hotmail.com

Mutualisms is supported, in part, by public funds from the Netherlands Cultural Services, the Mondriaan Foundation and the Propeller Fund.

Time/Bank will open a New York City branch in the form of a temporary restaurant on the Lower East Side, which will offer daily lunch in exchange for time credits and time currency that you can earn by helping others in Time/Bank community.

There will be a changing menu of meals prepared with recipes provided by a group of artists who like to cook, including Martha Rosler, Rirkrit Tiravanija, Carolina Caycedo, Lawrence Weiner, Liam Gillick, WAGE, and many others.

Time/Bank Restaurant is commissioned by Creative Time for the exhibition Living as Form curated by Nato Thompson.

Living as Form is an international project exploring over twenty years of cultural works that blur the forms of art and everyday life, emphasizing participation, dialogue and community engagement. Living as Form provides a broad look at a vast array of socially engaged practices that appear with increasing regularity in fields ranging from theater to activism, and urban planning to visual art. Presented by New York City-based public art organization Creative Time, the project brings together twenty-five curators, documents over 100 artists’ projects in a large-scale survey exhibition inside the historic Essex Street Market building, features nine new commissions in the surrounding neighborhood, and provides a dynamic online archive of over 350 socially engaged projects.

Culture Lab Newcastle is hosting an international interdisciplinary event open to the general public, on the topic of Connected Communities. This symposium will include talks and projects from theorists and practitioners alike, selected from a call for expressions of interest.

Many theorists have regarded communities as networks of interacting people within a defined territory, and policy-makers have tended to respond to this particular understanding. However, in an era where digital technologies have supported transnational forms of connectedness and the efficiency of grassroot movements, communities are once again looked at as innovative fertile grounds for alternative social organisation.

In a time when these trends can be manipulated by current governmental agendas, the Connected Communities symposium aims to critically explore evolving notions of community in art, design, history, politics, sociology, journalism, and hacktivism, among others.

Focus will be shed on – but not restricted to – the following topics:

• Effects of digital technologies on community formation, self-realisation, and development;
• How creative use of technology fosters micro-communities, empowers marginalised groups and enables new forms of cultural expression;
• Socio-political impact of community connectivity on society, in particular during this period of economic change.

This symposium will take place over a period of three days at Culture Lab, an interdisciplinary research laboratory and a venue for engagement and public events. It will consist of :

• A conference with talks selected from submitted expressions of interests, and invited speakers.
• An exhibition and a film screening centred on the notions of community and digital media. This will include blogs, documentation of community-based art workshops, art and ethnographic projects.
• A focused hands-on workshop (half a day). A conference can provide a playful environment, and we create a temporary community of practice to explore deeper questions of community. The access will be limited to 15 people on a first come – first served basis. Invitation to subscribe will be sent when the conference program is set.

PROGRAMME

For a complete programme, please see the “conference” and “exhibition” pages.

FEE

The symposium, all events included, are free of charge for all participants. Speakers who are not supported by an institution are offered transport to Newcastle and accommodation.

REGISTRATION

Please register in advance to the event in order to avoid disappointment:
- Day 1 (12th September)
- Day 2 (13th September)
- Day 3 (14th September)

CONTACT AND INFORMATION

For more information, please email us at ConnComm2011 [at] gmail.com and/or visit the symposium website.

ORGANISERS

Joëlle Bitton, Lalya Gaye, Andreia Cavaco, Ben Jones, Graeme Mearns and Atau Tanaka (Culture Lab Newcastle)
Ranald Richardson (Center for Urban & Regional Development Studies, Newcastle University)
http://side-creative.ncl.ac.uk/communities/
http://culturelab.ncl.ac.uk/
http://www.ncl.ac.uk/curds/

The symposium is funded by the AHRC research programme “Connected communities” and SiDE research programme at Culture Lab.

Hand-in-Glove is a new semiannual conference that addresses the pragmatic realities and imaginative possibilities of self-organized, noncommercial and artist-run spaces, publications, residencies, and a variety of other projects that challenge traditional formats for the production and reception of art at the grass-roots level. A vibrant art world would be unimaginable without the opportunities these projects provide, which oftentimes operate with little to no funding beyond sweat equity, volunteer labor, and personal resources. In response to this realization, Hand-in-Glove brings together these arts organizers for an intergenerational conversation around the practical and philosophical issues prevalent in their work.

threewalls is organizing the conference through the newly forming initiative, the Alliance of Independent Arts Organizers (AIAO), a professional organization that will provide resources and mentoring to visual arts facilitators.

Hand-in-Glove features keynote speaker curator Nato Thompson, and panels featuring Martha Wilson, Joseph del Pesco, Courtney Fink, Daniel Tucker, Renny Pritikin, Lane Relyea, and many more, as well as artist-designed parties, food experiences and tours around the city of Chicago. In conjunction, the MDW Fair, an independent art fair of art spaces, galleries and artist groups from the Chicago metropolitan area, will happen in the same building.

PHONEBOOK 3, released at the Hand-in-Glove conference and available for sale thereafter, is the essential guide for artists and arts administrators looking to connect with others in this ever-changing realm of independent artist-run culture, including everything from nonprofit and community institutions to flexible and self-organized art spaces, alternative schools, and residency programs. PHONEBOOK 3, in its third edition, is a directory with over 750 listings of projects and essays by Renny Pritikin, Group Material, Susan Sakash, Faheem Majed, Chances Dances, Paul Durica, Dara Greenwald, Mess Hall, Pilot TV, Amy Franceschini, Jon Brumit and Sarah Wagner, PLAND, Andy Sturdevant, Robby Herbst and more.

PHONEBOOK 3 will be released at an event featuring SALON SALOON, The Upper Middle West’s #1 Live-Action Arts Magazine, hosted by Andy Sturdevant and produced by Works Progress from Minneapolis, MN.

threewalls was founded in 2003 to provide greater support and visibility for the visual arts community in Chicago. The founders wanted to encourage a greater awareness of Chicago’s art scene by inviting emerging professional artists to Chicago to share in the city’s rich histories, resources and creative communities. In an effort to provide meaningful support to emerging artists, curators and writers, threewalls has worked to form a sustainable organization that provides exhibition space, residency opportunities and artist fees to both visiting artists through the residency fellowship and to regional artists through the SOLO program.

threewalls is partially supported by a grant from the Illinois Arts Council, a state agency; by a CityArts Program I grant from the City of Chicago Department of Cultural Affairs; The Chicago Community Trust; The Cliff Dwellers Foundation for the Arts; ArtsWork Fund for Organizational Development; The Gaylord and Dorothy Donnelley Foundation; The Alphawood Foundation; The MacArthur Fund for Arts & Culture at the Richard H. Driehaus Foundation; 3Arts Chicago; and major support is provided by The Andy Warhol Foundation for the Visual Arts. threewalls is sponsored by Pernod Absinthe.

The Hand-in-Glove Conference and PHONEBOOK 3 are generously supported by The Andy Warhol Foundation for the Visual Arts and through an Illinois Arts Council Special Projects Grant.

This fall, Creative Time will present Living as Form, an unprecedented, international exhibition exploring over twenty years of socially engaged cultural works that blur the forms of art and everyday life, emphasizing participation, dialogue, and community engagement. “Increasingly, we find socially engaged projects that exceed traditional categories of art by utilizing sociality, pedagogy, community outreach, architecture, publishing, and numerous other methodologies to engage the peculiar spectacle-driven thing we know as civic life. Living as Form is an attempt to take the temperature at this particular historic moment to encourage profound forms of social-based action that can alter the course of history,” states Nato Thompson who conceived of the exhibition with the advice and assistance of twenty-five curatorial advisors, including Caron Atlas, Negar Azimi, Ron Bechet, Claire Bishop, Brett Bloom, Rashida Bumbray, Carolina Caycedo, Ana Paula Cohen, Common Room, Teddy Cruz, Sofia Hernández Chong Cuy, Gridthiya Gaweewong, Stephen Hobbs and Marcus Neustetter, Hou Hanru, Shannon Jackson, Maria Lind, Chus Martínez, Sina Najafi, Marion von Osten, Ted Purves, Raqs Media Collective, Gregory Sholette, Superflex, Christine Tohme, and Sue Bell Yank. Living as Form will document over 100 artists’ projects in a large-scale survey show at the historic Essex Street Market building, commission nine new projects, and provide an online database of nearly 400 projects addressing this complex field of cultural production.

The show’s opening weekend will feature participatory events and tours with artists featured in the show including nine commissioned projects located in dedicated spaces inside the Essex Street Market and the surrounding neighborhood. Featured artists include Bik Van der Pol, Carolina Caycedo, MadeIn Company presented by the Long March Project, Megawords, OurGoods, Surasi Kusolwong, Superflex, Temporary Services, and Time/Bank (Julieta Aranda and Anton Vidokle). Ranging from performances to public interventions and installations, the projects will explore topics including public shrines and ceremonies, mind/body consciousness, the dynamics of power, vertical development and air rights, and alternative economies.

Audiences are invited to engage with some of the artists behind projects in the Living as Form exhibition — as well as critics, writers, and curators — at the third annual Creative Time Summit: Living as Form, on September 23, at NYU Skirball Center. The conference brings together an evolving community concerned with the political implications of socially engaged art to discuss how their work addresses pressing issues affecting our world. Expected presenters include: Alternate ROOTS, Appalshop, Common Room, Cybermohalla Ensemble, Decolonizing Architecture, Jeremy Deller, Darren O’Donnell, Laura Flanders, Theaster Gates, Hou Hanru, Jeanne van Heeswijk, Shannon Jackson, Long March Project, Alan W. Moore, My Barbarian, Neue Slowenische Kunst (NSK)/IRWIN, Ted Purves, Gerald Raunig, Navin Rawanchaikul, Katerina Šedá, Chemi Rosado Seijo, Andreas Siekmann, Mierle Laderman Ukeles, Ultra-red, United Indian Health Services, Urban Bush Women, Dan S. Wang, WochenKlausur, and Women on Waves.

ABOUT CREATIVE TIME

Since 1974, Creative Time has presented the most innovative art in the public realm. The New York-based nonprofit has worked with over 2,000 artists to produce more than 335 groundbreaking public art projects that have ignited the public’s imagination, explored ideas that shape society, and engaged millions of people around the globe.

SUPPORT

Lead project support for Living as Form and the Creative Time Summit is provided by the Annenberg Foundation, the Lily Auchincloss Foundation, the Nathan Cummings Foundation, the Danish Consulate, the Andrew W. Mellon Foundation, the Mondriaan Foundation, the National Endowment for the Arts, the Panta Rhea Foundation, the Rockefeller Brothers Fund, and the Laurie M. Tisch Illumination Fund.