In his famous lecture ’The Creative Act’, Marcel Duchamp defined the art coefficient as a subjective mechanism that produces art à l’état brut, so to say in a sort of raw state. He affirms that artists go from intention to realization through a series of subjective reactions: the result is a discrepancy between the intention and the realisation of the work of art; a difference which the artist cannot totally control. In other words the ‘art coefficient’ is like an arithmetical relation between the unexpressed but intended and the unintentionally expressed. The spectator is the other subject that completes the work of art: s/he brings its inner value to the external world. Under the lens of usership, Stephen Wright in his book ’Toward a lexicon of Usership’ points out a series of questions that read the coefficient of art from a different angle: ‘Could it be that art is no longer (or perhaps never was) a minority practice, but rather something practiced by a majority, appearing with varying coefficients in different contexts? What coefficient of art have we here? Or there? What is the coefficient of art of such and such a gesture, object or practice?’.  

Therefore, if there is no separation between what is art and what is not, it is potentially everywhere. During the workshop we will explore such questions: how do we calculate the coefficient of art? Is it possible to do so? Is it rather the sum of everything that creates what we call art? Starting from ourselves we will then look at other case studies that are included in the Arte Útil archive that operates on a 1:1 scale.

READINGS AND MEDIA

  Duchamp, M. (1957), The Creative Act [mp3]. New York: Aspen Magazine
Available at: http://www.ubu.com/aspen/aspen5and6/audio5E.html
[Accessed: 4 July 2020]

 Wright, S. (2013) Coefficient of Art. In: Towards a Lexicon of Usership.
Eindhoven: Van Abbemuseum pp: 13

Coefficient of Art  and 1:1 scale

Alessandra Saviotti is a curator, educator and cultural activist who lives in Amsterdam. She is a PhD researcher at the Liverpool John Moores University - School of Art and Design. Her focus is on socially engaged art, collaborative practices and Arte Útil. Her work aims to realize projects where the public becomes a co-producer in the spirit of usership. Her reflection is taking into consideration collaborative processes according to the motto ‘cooperation is better than competition’. Since 2014 she has been working with the Asociación de Arte Útil especially aiming at emancipating the usership around the Arte Útil Archive. She is currently researching and writing about how alternative education models framed as Arte Útil could be successfully implemented within the institution of education fostering sustainability, hacking the institution itself. She is a member of Art Workers Italia and her most recent project is Decentralising Political Economies, realised in collaboration with The Whitworth (Manchester), LJMU's The City Lab and the Asociación de Arte Útil. She is a regular guest lecturer at the international Master Artist Educator and Master Education in Arts at the University of the Arts - ArtEZ, Arnhem (NL). She was part of the curatorial team of the 'Museum of Arte Útil' at the Van Abbemuseum (Eindhoven, NL); She led online and offline seminars at the San Francisco Art Institute (2017), California College of the Arts (2017), SALT Istanbul (2018), The Whitworth (2019), Chicago Architecture Biennial (2019), Accademia di Brera, Milan (2020), and she was the coordinator of the Escuela de Arte Útil at Yerba Buena Center for the Arts, San Francisco (US). Since 2007 has been working in collaboration with several institutions such as SFMOMA (US), MAXXI, Rome (IT), Delfina Foundation, London (UK), Middlesbrough Institute of Modern Art (UK), Visible Project (IT), Manifesta 7 (IT), UNIDEE – Cittadellarte (IT), SALT (TR), Estudio Bruguera (USA) e Studio Grilli (BE). She is a 2013-14 van Eyck Akademie fellow, a 2015 Mondriaan Foundation grantee and a 2014 Demo Movin'Up grantee and she has been awarded an international mobility grant from i-Portunus – Creative Europe in 2019.

Gemma Medina is an art historian, independent researcher, curator and educator, based in Eindhoven (NL). She focuses on the relationship between art and society, particularly the uses of art, researching Arte Útil, socially engaged art and artivism. She participates in curatorial and pedagogical projects that fall outside standard artistic discourse to bring art closer to non-specialized audiences, fostering connections and collaborative processes between artists, designers, and different collectives. She has worked in diverse experimental projects with the Van Abbemuseum (Eindhoven, NL), like Be(com)ing Dutch (2007-2008), the residency program Artistic strategies in Psychiatry (2018) and Agents of Change (2015-2020), among others. After 2012 she collaborated with the artist Tania Bruguera and the Van Abbemuseum to gather the Arte Útil archive, which was the core of the exhibition “The Museum of Arte Útil” (2013-2014), where she co-curated the public program with Alessandra Saviotti. Together they co-curated “Broadcasting the archive” (2016-2018). She works with the Asociación de Arte Útil to facilitate and promote the use of the archive as a tool to open up our imagination and recover the meaning of possibility. She is a founder member of Axioma, Laboratorio de mediacion artistica (Canary Islands, ES). Her recent and current projects are In/Out: a possible map (Centro Atlantico de Arte Moderno CAAM, Las Palmas, SP), and the toolkit/publication <<_ it shapes the hollow spaces_>>  TAC (Eindhoven, NL). Both reflect on the role of art, art institutions, the very construction of History, and his modern narrative, encouraging the uses of art and communal sources of knowledge to generate counternarratives. She holds a PhD in Contemporary Art and Humanities (Universidad de La Laguna, SP), and she is a regular guest lecturer at iMAE, ArtEZ hogeschool voor de kunsten (Arnhem, NL).

In his famous lecture ’The Creative Act’, Marcel Duchamp defined the art coefficient as a subjective mechanism that produces art à l’état brut, so to say in a sort of raw state. He affirms that artists go from intention to realization through a series of subjective reactions: the result is a discrepancy between the intention and the realisation of the work of art; a difference which the artist cannot totally control. In other words the ‘art coefficient’ is like an arithmetical relation between the unexpressed but intended and the unintentionally expressed. The spectator is the other subject that completes the work of art: s/he brings its inner value to the external world. Under the lens of usership, Stephen Wright in his book ’Toward a lexicon of Usership’ points out a series of questions that read the coefficient of art from a different angle: ‘Could it be that art is no longer (or perhaps never was) a minority practice, but rather something practiced by a majority, appearing with varying coefficients in different contexts? What coefficient of art have we here? Or there? What is the coefficient of art of such and such a gesture, object or practice?’.  

Therefore, if there is no separation between what is art and what is not, it is potentially everywhere. During the workshop we will explore such questions: how do we calculate the coefficient of art? Is it possible to do so? Is it rather the sum of everything that creates what we call art? Starting from ourselves we will then look at other case studies that are included in the Arte Útil archive that operates on a 1:1 scale.

READINGS AND MEDIA

Duchamp, M. (1957), The Creative Act [mp3]. New York: Aspen Magazine
Available at: http://www.ubu.com/aspen/aspen5and6/audio5E.html
[Accessed: 4 July 2020]

Wright, S. (2013) Coefficient of Art. In: Towards a Lexicon of Usership.
Eindhoven: Van Abbemuseum pp: 13

Coefficient of Art  and 1:1 scale

Alessandra Saviotti is a curator, educator and cultural activist who lives in Amsterdam. She is a PhD researcher at the Liverpool John Moores University - School of Art and Design. Her focus is on socially engaged art, collaborative practices and Arte Útil. Her work aims to realize projects where the public becomes a co-producer in the spirit of usership. Her reflection is taking into consideration collaborative processes according to the motto ‘cooperation is better than competition’. Since 2014 she has been working with the Asociación de Arte Útil especially aiming at emancipating the usership around the Arte Útil Archive. She is currently researching and writing about how alternative education models framed as Arte Útil could be successfully implemented within the institution of education fostering sustainability, hacking the institution itself. She is a member of Art Workers Italia and her most recent project is Decentralising Political Economies, realised in collaboration with The Whitworth (Manchester), LJMU's The City Lab and the Asociación de Arte Útil. She is a regular guest lecturer at the international Master Artist Educator and Master Education in Arts at the University of the Arts - ArtEZ, Arnhem (NL). She was part of the curatorial team of the 'Museum of Arte Útil' at the Van Abbemuseum (Eindhoven, NL); She led online and offline seminars at the San Francisco Art Institute (2017), California College of the Arts (2017), SALT Istanbul (2018), The Whitworth (2019), Chicago Architecture Biennial (2019), Accademia di Brera, Milan (2020), and she was the coordinator of the Escuela de Arte Útil at Yerba Buena Center for the Arts, San Francisco (US). Since 2007 has been working in collaboration with several institutions such as SFMOMA (US), MAXXI, Rome (IT), Delfina Foundation, London (UK), Middlesbrough Institute of Modern Art (UK), Visible Project (IT), Manifesta 7 (IT), UNIDEE – Cittadellarte (IT), SALT (TR), Estudio Bruguera (USA) e Studio Grilli (BE). She is a 2013-14 van Eyck Akademie fellow, a 2015 Mondriaan Foundation grantee and a 2014 Demo Movin'Up grantee and she has been awarded an international mobility grant from i-Portunus – Creative Europe in 2019.

Gemma Medina is an art historian, independent researcher, curator and educator, based in Eindhoven (NL). She focuses on the relationship between art and society, particularly the uses of art, researching Arte Útil, socially engaged art and artivism. She participates in curatorial and pedagogical projects that fall outside standard artistic discourse to bring art closer to non-specialized audiences, fostering connections and collaborative processes between artists, designers, and different collectives. She has worked in diverse experimental projects with the Van Abbemuseum (Eindhoven, NL), like Be(com)ing Dutch (2007-2008), the residency program Artistic strategies in Psychiatry (2018) and Agents of Change (2015-2020), among others. After 2012 she collaborated with the artist Tania Bruguera and the Van Abbemuseum to gather the Arte Útil archive, which was the core of the exhibition “The Museum of Arte Útil” (2013-2014), where she co-curated the public program with Alessandra Saviotti. Together they co-curated “Broadcasting the archive” (2016-2018). She works with the Asociación de Arte Útil to facilitate and promote the use of the archive as a tool to open up our imagination and recover the meaning of possibility. She is a founder member of Axioma, Laboratorio de mediacion artistica (Canary Islands, ES). Her recent and current projects are In/Out: a possible map (Centro Atlantico de Arte Moderno CAAM, Las Palmas, SP), and the toolkit/publication <<_ it shapes the hollow spaces_>>  TAC (Eindhoven, NL). Both reflect on the role of art, art institutions, the very construction of History, and his modern narrative, encouraging the uses of art and communal sources of knowledge to generate counternarratives. She holds a PhD in Contemporary Art and Humanities (Universidad de La Laguna, SP), and she is a regular guest lecturer at iMAE, ArtEZ hogeschool voor de kunsten (Arnhem, NL).

In his famous lecture ’The Creative Act’, Marcel Duchamp defined the art coefficient as a subjective mechanism that produces art à l’état brut, so to say in a sort of raw state. He affirms that artists go from intention to realization through a series of subjective reactions: the result is a discrepancy between the intention and the realisation of the work of art; a difference which the artist cannot totally control. In other words the ‘art coefficient’ is like an arithmetical relation between the unexpressed but intended and the unintentionally expressed. The spectator is the other subject that completes the work of art: s/he brings its inner value to the external world. Under the lens of usership, Stephen Wright in his book ’Toward a lexicon of Usership’ points out a series of questions that read the coefficient of art from a different angle: ‘Could it be that art is no longer (or perhaps never was) a minority practice, but rather something practiced by a majority, appearing with varying coefficients in different contexts? What coefficient of art have we here? Or there? What is the coefficient of art of such and such a gesture, object or practice?’.  

Therefore, if there is no separation between what is art and what is not, it is potentially everywhere. During the workshop we will explore such questions: how do we calculate the coefficient of art? Is it possible to do so? Is it rather the sum of everything that creates what we call art? Starting from ourselves we will then look at other case studies that are included in the Arte Útil archive that operates on a 1:1 scale.

READINGS AND MEDIA

Duchamp, M. (1957), The Creative Act [mp3]. New York: Aspen Magazine
Available at: http://www.ubu.com/aspen/aspen5and6/audio5E.html
[Accessed: 4 July 2020]

Wright, S. (2013) Coefficient of Art. In: Towards a Lexicon of Usership.
Eindhoven: Van Abbemuseum pp: 13

Coefficient of Art and 1:1 scale

Alessandra Saviotti is a curator, educator and cultural activist who lives in Amsterdam. She is a PhD researcher at the Liverpool John Moores University - School of Art and Design. Her focus is on socially engaged art, collaborative practices and Arte Útil. Her work aims to realize projects where the public becomes a co-producer in the spirit of usership. Her reflection is taking into consideration collaborative processes according to the motto ‘cooperation is better than competition’. Since 2014 she has been working with the Asociación de Arte Útil especially aiming at emancipating the usership around the Arte Útil Archive. She is currently researching and writing about how alternative education models framed as Arte Útil could be successfully implemented within the institution of education fostering sustainability, hacking the institution itself. She is a member of Art Workers Italia and her most recent project is Decentralising Political Economies, realised in collaboration with The Whitworth (Manchester), LJMU's The City Lab and the Asociación de Arte Útil. She is a regular guest lecturer at the international Master Artist Educator and Master Education in Arts at the University of the Arts - ArtEZ, Arnhem (NL). She was part of the curatorial team of the 'Museum of Arte Útil' at the Van Abbemuseum (Eindhoven, NL); She led online and offline seminars at the San Francisco Art Institute (2017), California College of the Arts (2017), SALT Istanbul (2018), The Whitworth (2019), Chicago Architecture Biennial (2019), Accademia di Brera, Milan (2020), and she was the coordinator of the Escuela de Arte Útil at Yerba Buena Center for the Arts, San Francisco (US). Since 2007 has been working in collaboration with several institutions such as SFMOMA (US), MAXXI, Rome (IT), Delfina Foundation, London (UK), Middlesbrough Institute of Modern Art (UK), Visible Project (IT), Manifesta 7 (IT), UNIDEE – Cittadellarte (IT), SALT (TR), Estudio Bruguera (USA) e Studio Grilli (BE). She is a 2013-14 van Eyck Akademie fellow, a 2015 Mondriaan Foundation grantee and a 2014 Demo Movin'Up grantee and she has been awarded an international mobility grant from i-Portunus – Creative Europe in 2019.

Gemma Medina is an art historian, independent researcher, curator and educator, based in Eindhoven (NL). She focuses on the relationship between art and society, particularly the uses of art, researching Arte Útil, socially engaged art and artivism. She participates in curatorial and pedagogical projects that fall outside standard artistic discourse to bring art closer to non-specialized audiences, fostering connections and collaborative processes between artists, designers, and different collectives. She has worked in diverse experimental projects with the Van Abbemuseum (Eindhoven, NL), like Be(com)ing Dutch (2007-2008), the residency program Artistic strategies in Psychiatry (2018) and Agents of Change (2015-2020), among others. After 2012 she collaborated with the artist Tania Bruguera and the Van Abbemuseum to gather the Arte Útil archive, which was the core of the exhibition “The Museum of Arte Útil” (2013-2014), where she co-curated the public program with Alessandra Saviotti. Together they co-curated “Broadcasting the archive” (2016-2018). She works with the Asociación de Arte Útil to facilitate and promote the use of the archive as a tool to open up our imagination and recover the meaning of possibility. She is a founder member of Axioma, Laboratorio de mediacion artistica (Canary Islands, ES). Her recent and current projects are In/Out: a possible map (Centro Atlantico de Arte Moderno CAAM, Las Palmas, SP), and the toolkit/publication <<_ it shapes the hollow spaces_>>  TAC (Eindhoven, NL). Both reflect on the role of art, art institutions, the very construction of History, and his modern narrative, encouraging the uses of art and communal sources of knowledge to generate counternarratives. She holds a PhD in Contemporary Art and Humanities (Universidad de La Laguna, SP), and she is a regular guest lecturer at iMAE, ArtEZ hogeschool voor de kunsten (Arnhem, NL).

In his famous lecture ’The Creative Act’, Marcel Duchamp defined the art coefficient as a subjective mechanism that produces art à l’état brut, so to say in a sort of raw state. He affirms that artists go from intention to realization through a series of subjective reactions: the result is a discrepancy between the intention and the realisation of the work of art; a difference which the artist cannot totally control. In other words the ‘art coefficient’ is like an arithmetical relation between the unexpressed but intended and the unintentionally expressed. The spectator is the other subject that completes the work of art: s/he brings its inner value to the external world. Under the lens of usership, Stephen Wright in his book ’Toward a lexicon of Usership’ points out a series of questions that read the coefficient of art from a different angle: ‘Could it be that art is no longer (or perhaps never was) a minority practice, but rather something practiced by a majority, appearing with varying coefficients in different contexts? What coefficient of art have we here? Or there? What is the coefficient of art of such and such a gesture, object or practice?’.  

Therefore, if there is no separation between what is art and what is not, it is potentially everywhere. During the workshop we will explore such questions: how do we calculate the coefficient of art? Is it possible to do so? Is it rather the sum of everything that creates what we call art? Starting from ourselves we will then look at other case studies that are included in the Arte Útil archive that operates on a 1:1 scale.

READINGS AND MEDIA

 Duchamp, M. (1957), The Creative Act [mp3]. New York: Aspen Magazine
Available at: http://www.ubu.com/aspen/aspen5and6/audio5E.html
[Accessed: 4 July 2020]

Wright, S. (2013) Coefficient of Art. In: Towards a Lexicon of Usership.
Eindhoven: Van Abbemuseum pp: 13

Coefficient of Art  and 1:1 scale

Alessandra Saviotti is a curator, educator and cultural activist who lives in Amsterdam. She is a PhD researcher at the Liverpool John Moores University - School of Art and Design. Her focus is on socially engaged art, collaborative practices and Arte Útil. Her work aims to realize projects where the public becomes a co-producer in the spirit of usership. Her reflection is taking into consideration collaborative processes according to the motto ‘cooperation is better than competition’. Since 2014 she has been working with the Asociación de Arte Útil especially aiming at emancipating the usership around the Arte Útil Archive. She is currently researching and writing about how alternative education models framed as Arte Útil could be successfully implemented within the institution of education fostering sustainability, hacking the institution itself. She is a member of Art Workers Italia and her most recent project is Decentralising Political Economies, realised in collaboration with The Whitworth (Manchester), LJMU's The City Lab and the Asociación de Arte Útil. She is a regular guest lecturer at the international Master Artist Educator and Master Education in Arts at the University of the Arts - ArtEZ, Arnhem (NL). She was part of the curatorial team of the 'Museum of Arte Útil' at the Van Abbemuseum (Eindhoven, NL); She led online and offline seminars at the San Francisco Art Institute (2017), California College of the Arts (2017), SALT Istanbul (2018), The Whitworth (2019), Chicago Architecture Biennial (2019), Accademia di Brera, Milan (2020), and she was the coordinator of the Escuela de Arte Útil at Yerba Buena Center for the Arts, San Francisco (US). Since 2007 has been working in collaboration with several institutions such as SFMOMA (US), MAXXI, Rome (IT), Delfina Foundation, London (UK), Middlesbrough Institute of Modern Art (UK), Visible Project (IT), Manifesta 7 (IT), UNIDEE – Cittadellarte (IT), SALT (TR), Estudio Bruguera (USA) e Studio Grilli (BE). She is a 2013-14 van Eyck Akademie fellow, a 2015 Mondriaan Foundation grantee and a 2014 Demo Movin'Up grantee and she has been awarded an international mobility grant from i-Portunus – Creative Europe in 2019.

Gemma Medina is an art historian, independent researcher, curator and educator, based in Eindhoven (NL). She focuses on the relationship between art and society, particularly the uses of art, researching Arte Útil, socially engaged art and artivism. She participates in curatorial and pedagogical projects that fall outside standard artistic discourse to bring art closer to non-specialized audiences, fostering connections and collaborative processes between artists, designers, and different collectives. She has worked in diverse experimental projects with the Van Abbemuseum (Eindhoven, NL), like Be(com)ing Dutch (2007-2008), the residency program Artistic strategies in Psychiatry (2018) and Agents of Change (2015-2020), among others. After 2012 she collaborated with the artist Tania Bruguera and the Van Abbemuseum to gather the Arte Útil archive, which was the core of the exhibition “The Museum of Arte Útil” (2013-2014), where she co-curated the public program with Alessandra Saviotti. Together they co-curated “Broadcasting the archive” (2016-2018). She works with the Asociación de Arte Útil to facilitate and promote the use of the archive as a tool to open up our imagination and recover the meaning of possibility. She is a founder member of Axioma, Laboratorio de mediacion artistica (Canary Islands, ES). Her recent and current projects are In/Out: a possible map (Centro Atlantico de Arte Moderno CAAM, Las Palmas, SP), and the toolkit/publication <<_ it shapes the hollow spaces_>>  TAC (Eindhoven, NL). Both reflect on the role of art, art institutions, the very construction of History, and his modern narrative, encouraging the uses of art and communal sources of knowledge to generate counternarratives. She holds a PhD in Contemporary Art and Humanities (Universidad de La Laguna, SP), and she is a regular guest lecturer at iMAE, ArtEZ hogeschool voor de kunsten (Arnhem, NL).

In his famous lecture ’The Creative Act’, Marcel Duchamp defined the art coefficient as a subjective mechanism that produces art à l’état brut, so to say in a sort of raw state. He affirms that artists go from intention to realization through a series of subjective reactions: the result is a discrepancy between the intention and the realisation of the work of art; a difference which the artist cannot totally control. In other words the ‘art coefficient’ is like an arithmetical relation between the unexpressed but intended and the unintentionally expressed. The spectator is the other subject that completes the work of art: s/he brings its inner value to the external world. Under the lens of usership, Stephen Wright in his book ’Toward a lexicon of Usership’ points out a series of questions that read the coefficient of art from a different angle: ‘Could it be that art is no longer (or perhaps never was) a minority practice, but rather something practiced by a majority, appearing with varying coefficients in different contexts? What coefficient of art have we here? Or there? What is the coefficient of art of such and such a gesture, object or practice?’.  

Therefore, if there is no separation between what is art and what is not, it is potentially everywhere. During the workshop we will explore such questions: how do we calculate the coefficient of art? Is it possible to do so? Is it rather the sum of everything that creates what we call art? Starting from ourselves we will then look at other case studies that are included in the Arte Útil archive that operates on a 1:1 scale.

READINGS AND MEDIA

  Duchamp, M. (1957), The Creative Act [mp3]. New York: Aspen Magazine
Available at: http://www.ubu.com/aspen/aspen5and6/audio5E.html [Accessed: 4 July 2020]

 Wright, S. (2013) Coefficient of Art. In: Towards a Lexicon of Usership.
Eindhoven: Van Abbemuseum pp: 13

 Coefficient of Art and 1:1 scale

Alessandra Saviotti is a curator, educator and cultural activist who lives in Amsterdam. She is a PhD researcher at the Liverpool John Moores University - School of Art and Design. Her focus is on socially engaged art, collaborative practices and Arte Útil. Her work aims to realize projects where the public becomes a co-producer in the spirit of usership. Her reflection is taking into consideration collaborative processes according to the motto ‘cooperation is better than competition’. Since 2014 she has been working with the Asociación de Arte Útil especially aiming at emancipating the usership around the Arte Útil Archive. She is currently researching and writing about how alternative education models framed as Arte Útil could be successfully implemented within the institution of education fostering sustainability, hacking the institution itself. She is a member of Art Workers Italia and her most recent project is Decentralising Political Economies, realised in collaboration with The Whitworth (Manchester), LJMU's The City Lab and the Asociación de Arte Útil. She is a regular guest lecturer at the international Master Artist Educator and Master Education in Arts at the University of the Arts - ArtEZ, Arnhem (NL). She was part of the curatorial team of the 'Museum of Arte Útil' at the Van Abbemuseum (Eindhoven, NL); She led online and offline seminars at the San Francisco Art Institute (2017), California College of the Arts (2017), SALT Istanbul (2018), The Whitworth (2019), Chicago Architecture Biennial (2019), Accademia di Brera, Milan (2020), and she was the coordinator of the Escuela de Arte Útil at Yerba Buena Center for the Arts, San Francisco (US). Since 2007 has been working in collaboration with several institutions such as SFMOMA (US), MAXXI, Rome (IT), Delfina Foundation, London (UK), Middlesbrough Institute of Modern Art (UK), Visible Project (IT), Manifesta 7 (IT), UNIDEE – Cittadellarte (IT), SALT (TR), Estudio Bruguera (USA) e Studio Grilli (BE). She is a 2013-14 van Eyck Akademie fellow, a 2015 Mondriaan Foundation grantee and a 2014 Demo Movin'Up grantee and she has been awarded an international mobility grant from i-Portunus – Creative Europe in 2019.

Gemma Medina is an art historian, independent researcher, curator and educator, based in Eindhoven (NL). She focuses on the relationship between art and society, particularly the uses of art, researching Arte Útil, socially engaged art and artivism. She participates in curatorial and pedagogical projects that fall outside standard artistic discourse to bring art closer to non-specialized audiences, fostering connections and collaborative processes between artists, designers, and different collectives. She has worked in diverse experimental projects with the Van Abbemuseum (Eindhoven, NL), like Be(com)ing Dutch (2007-2008), the residency program Artistic strategies in Psychiatry (2018) and Agents of Change (2015-2020), among others. After 2012 she collaborated with the artist Tania Bruguera and the Van Abbemuseum to gather the Arte Útil archive, which was the core of the exhibition “The Museum of Arte Útil” (2013-2014), where she co-curated the public program with Alessandra Saviotti. Together they co-curated “Broadcasting the archive” (2016-2018). She works with the Asociación de Arte Útil to facilitate and promote the use of the archive as a tool to open up our imagination and recover the meaning of possibility. She is a founder member of Axioma, Laboratorio de mediacion artistica (Canary Islands, ES). Her recent and current projects are In/Out: a possible map (Centro Atlantico de Arte Moderno CAAM, Las Palmas, SP), and the toolkit/publication <<_ it shapes the hollow spaces_>>  TAC (Eindhoven, NL). Both reflect on the role of art, art institutions, the very construction of History, and his modern narrative, encouraging the uses of art and communal sources of knowledge to generate counternarratives. She holds a PhD in Contemporary Art and Humanities (Universidad de La Laguna, SP), and she is a regular guest lecturer at iMAE, ArtEZ hogeschool voor de kunsten (Arnhem, NL).

21 October 2021 | 15:00 -17:00 BST | PANEL DISCUSSION: The Usological turn and the quest for inclusive education with Daniel Godínez-Nivón (MX), Gabriela Saenger Silva (BR/UK), Lisa Heinis (BE/NL) and Alessandra Saviotti (IT/NL)

21 October 2021 | 15:00 -17:00 BST | PANEL DISCUSSION: The Usological turn and the quest for inclusive education with Daniel Godínez-Nivón (MX), Gabriela Saenger Silva (BR/UK), Lisa Heinis (BE/NL) and Alessandra Saviotti (IT/NL)

21 October 2021 | 15:00 -17:00 BST | PANEL DISCUSSION: The Usological turn and the quest for inclusive education with Daniel Godínez-Nivón (MX), Gabriela Saenger Silva (BR/UK), Lisa Heinis (BE/NL) and Alessandra Saviotti (IT/NL)

WEEK 3:
21 October 2021 | 15:00 -17:00 BST | PANEL DISCUSSION: The Usological turn and the quest for inclusive education with Daniel Godínez-Nivón (MX), Gabriela Saenger Silva (BR/UK), Lisa Heinis (BE/NL) and Alessandra Saviotti (IT/NL)

21 October 2021 | 15:00 -17:00 BST | PANEL DISCUSSION: The Usological turn and the quest for inclusive education with Daniel Godínez-Nivón (MX), Gabriela Saenger Silva (BR/UK), Lisa Heinis (BE/NL) and Alessandra Saviotti (IT/NL)

‘Hackers can break the link between the demands of the capitalist class for the shaping of tools for its own use, and that of the workers for practical knowledge useful to their lives.’

According to A Hackers Manifesto (Wark, 2004) knowledge should be freed from scarcity in order to be put back to use for everyone, hence which practical tools we could use to make the hacking process real? This panel looks at the City Lab at Liverpool John Moores University as the catalysers for the development of theoretical and practical examples in order to activate change through infiltrating, hacking and undercommoning the institution of education and beyond. Moderated by City Lab at Liverpool School of Art and Design at LJMU’ director John Byrne, and co-convened with convivial researchers at the Center for Convivial Research and Autonomy Manolo Callahan and Annie Paradise, lecturer at the Academy of Fine Arts in Warsaw Kuba Szreder, Lead officer and cultural coordinator at Liverpool City Region Combined Authority Sarah Lovell, and LJMU PhD candidate Alessandra Saviotti, this panel will look at different strategies that are entangled with art, education and civic institutions in order to reveal and question power structures through hacking.

READINGS AND MEDIA

Watch the panelists' presentations in advance and join for a live discussion and Q&A.

+ Manolo Callahan and Annie Paradise introduce their research as part of the Center for Convivial Research and Autonomy - WATCH HERE introduce the Center for Convivial Research and Autonomy (CCRA) - watch here

The Center for Convivial Research and Autonomy (CCRA) is a small collective that pursues community-based convivial research and insurgent learning imagined as “spaces of encounter.” These interconnected initiatives weave together autonomous, community-centered urban Zapatismo at the intersections of environmental regeneration, community well-being, food sovereignty, and community safety. Our goal is to circulate critical analytical skills, investigative tools, facilitation techniques, and community regeneration strategies that reclaim the habits of assembly across struggles.

Annie Paradise is a researcher with the Center for Convivial Research and Autonomy (CCRA), a transterritorial research collective based in the San Francisco Bay Area. Her work engages struggles confronting militarization and intersecting violences engendered by racial patriarchal capital, with a focus on social reproduction and the crisis
of care.

Manuel Callahan is an insurgent learner and convivial researcher with the Center for Convivial Research and Autonomy. Callahan’s work explores three interwoven areas: the US/Mexico border and borderlands
historically and in the present; struggles for autonomy across the Americas including moments of Zapatismo in and beyond Chiapas; and convivial research and insurgent learning, a community-based horizontal research approach that engages autonomous struggles throughout Greater Mexico. He also participates in the Universidad de la Tierra Califas and the several autonomous learning spaces it convenes.

+ Kuba Szreder introduces the notion of artistic circulation and how to hack it - WATCH HERE 

Kuba Szreder is a researcher, lecturer and interdependent curator, based in Warsaw, working as an associate professor at the department for art theory of the Academy of Fine Arts in Warsaw. In 2015 he was awarded PhD by the Loughborough University School of the Arts for the thesis about social and economic underpinnings of independent curating. He co-curated many interdisciplinary projects that hybridize art with critical reflection and social experiments, such as exhibition Making Use. Life in Postartistic Times (together with Sebastian Cichocki, Museum of Modern Art, Warsaw 2016). He actively cooperates with artistic unions, consortia of post-artistic practitioners, clusters of art-researchers, art collectives and artistic institutions in Poland, UK, and other European countries. In 2009 he initiated Free / Slow University of Warsaw, with which he completed several inquiries into the current conditions of artistic labor, publishing readers (Readings for Artworkers vol 1-2 [2009-2010], Joy Forever. Political Economy of Social Creativity [2014]) and research reports (Art Factory [2014]). Since 2012 he has actively cooperated with OFSW, an artistic trade union in Poland, co-running campaigns that targeted dismal labor conditions in contemporary art. In 2018, together with Kathrin Böhm, he established the Centre for Plausible Economies in London, a research cluster investigating artistic economies, with which he conducted research projects (Re:drawing the Economies [2018], The Art of Cooperativism [2019-2020]), and published articles and visual essays (Icebergian Economies of Contemporary Art [2020]). In 2018-2020 he was a member of the core team of Anti-fascist Year, a coalition of over 150 art institutions and informal collectives that protested rising authoritarianism. In 2020 he co-initiated the Office for Postartistic Services, the aim of which is to make use of artistic competences in support of progressive social movements. Editor and author of books, catalogues, chapters and articles tackling such issues as the political economy of global artistic circulation, art strikes, modes of artistic self-organization, instituting art beyond the art market and the use value of art. His most recent book The ABC of the projectariat. Living and working in a precarious art world, will be published by the Whitworth Museum and Manchester University Press in the Fall of 2021.

+ Alessandra Saviotti introduces her practice at the intersection of art and education looking at the principles of Arte Útil and how they can be used to infiltrate institutional contexts - WATCH HERE 

Alessandra Saviotti (Italy, 1982) is a curator, educator and cultural activist who lives in Amsterdam. She is a PhD researcher at the Liverpool John Moores University - School of Art and Design. Her focus is on socially engaged art, collaborative practices and Arte Útil. Her work aims to realize projects where the public becomes a co-producer in the spirit of usership. Her reflection is taking into consideration collaborative processes according to the motto ‘cooperation is better than competition’. Since 2014 she has been working with the Asociación de Arte Útil especially aiming at emancipating the usership around the Arte Útil Archive. She is currently researching and writing about how alternative education models framed as Arte Útil could be successfully implemented within the institution of education fostering sustainability, hacking the institution itself. She is a member of Art Workers Italia and her most recent project is Decentralising Political Economies, realised in collaboration with The Whitworth (Manchester), LJMU's The City Lab and the Asociación de Arte Útil. She is a regular guest lecturer at the international Master Artist Educator and Master Education in Arts at the University of the Arts - ArtEZ, Arnhem (NL). She was part of the curatorial team of the 'Museum of Arte Útil' at the Van Abbemuseum (Eindhoven, NL); She led online and offline seminars at the San Francisco Art Institute (2017), California College of the Arts (2017), SALT Istanbul (2018), The Whitworth (2019), Chicago Architecture Biennial (2019), Accademia di Brera, Milan (2020), and she was the coordinator of the Escuela de Arte Útil at Yerba Buena Center for the Arts, San Francisco (US). Since 2007 has been working in collaboration with several institutions such as SFMOMA (US), MAXXI, Rome (IT), Delfina Foundation, London (UK), Middlesbrough Institute of Modern Art (UK), Visible Project (IT), Manifesta 7 (IT), UNIDEE – Cittadellarte (IT), SALT (TR), Estudio Bruguera (USA) e Studio Grilli (BE). She is a 2013-14 van Eyck Akademie fellow, a 2015 Mondriaan Foundation grantee and a 2014 Demo Movin'Up grantee and she has been awarded an international mobility grant from i-Portunus – Creative Europe in 2019.

+ Sarah Lovell introduces some projects part of the strategic plan to implement culture within the region such as the Borough of Culture initiative - WATCH HERE 

Sarah Lovell is the Lead Officer for Culture, within the Policy and Strategic Commissioning Directorate for the Liverpool City Region, Combined Authority, with strategic responsibilities to manage the implementation of the Culture & Creative Strategy - supporting and strengthening the role of culture and creativity as core drivers for the success of the City Region. 

With over 25 years of experience working within the participatory arts/theatre and education/learning sectors Sarah has worked for a wide range of regional and national arts cultural and heritage organisations including; Everyman & Playhouse Theatres, Royal Liverpool Philharmonic, Royal Exchange Theatre and National Museums Liverpool and within Further and Higher Education establishments including LIPA, LJMU and Chester University. In a former role at Arts Council England Sarah was Programme Director for the Young People's Participatory Theatre Project (2006 - 2009) a national programme to increase young people's access to and participation in theatre.

 + John Byrne (Moderator) is a Reader in The Uses of Art at Liverpool John Moores University where he is also the Lab Leader of The City Lab (which forms part of Liverpool School of Art and Design’s Institute of Art and Technology). Byrne is also currently Researcher and Writer in Residence at the Whitworth Art Gallery where he is Lead Researcher and Research editor for the Decentralising Political Economies Project/Platform (http://www.dpe.tools) which he developed on behalf of The Whitworth Art Gallery in collaboration with the Association of Arte Útil and the City Lab. From 2008 Byrne worked closely with the Van Abbemuseum on the development of  ‘The Autonomy Project’ and, in 2013, Byrne managed and co-ordinated Liverpool John Moores University’s participation in the L’Internationale project ‘The Uses of Art: The Legacy of 1848 and 1989’. In In September 2015 Byrne took on the role of Co-ordinator for the L’Internationale ‘Constituencies’ Research Strand was lead editorial on the resulting L’Internationale publication ‘The Constituent Museum: Constellations of Knowledge, Politics and Mediation’ in 2018. In 2015 Byrne also became a Narrator/Curator of the L’Internationale ‘Glossary of Common Knowledge’ and, together with Zdenka Badovinca (Director of Moderna Galerija), co-curated a ‘Constituencies’ Glossary of Common Knowledge Seminar that was held in Liverpool at Liverpool John Moores University’s School of Art and Design in 2016. As well as this, Byrne has been an active member of The Association of Arte Útil (AAU) since 2013 when he collaborated with The AAU, Grizedale Arts and Tate Liverpool to install and run a temporary ‘Office of Useful Art’ during Tate Liverpool’s ‘Art Turning Left’ show in 2013/2014. Since then Byrne has also coordinated a series of pop up Offices of Useful Art at Liverpool School of Art and Design, The Granby 4 Streets area of Toxteth in Liverpool, and at the Florrie Institute in Liverpool. Via The City Lab, Byrne is committed to helping to growing and develop the Association of Arte Útil network as a worldwide constituency if artists, designers, activists, and makers who wish to explore ways in which we can use as art as a ground-up tool for imagining and making ourselves otherwise.

 Byrne, J. (2020) Negotiating Jeopardy: Use Value, the Body and Political Dissent: The Autonomy Project Revisited, [online] Available at: https://dpe.tools/resources/negotiating-jeopardy 

If you miss the live discussion, you can either  WATCH HERE or  LISTEN HERE.

‘Hackers can break the link between the demands of the capitalist class for the shaping of tools for its own use, and that of the workers for practical knowledge useful to their lives.’

According to A Hackers Manifesto (Wark, 2004) knowledge should be freed from scarcity in order to be put back to use for everyone, hence which practical tools we could use to make the hacking process real? This panel looks at the City Lab at Liverpool John Moores University as the catalysers for the development of theoretical and practical examples in order to activate change through infiltrating, hacking and undercommoning the institution of education and beyond. Moderated by City Lab at Liverpool School of Art and Design at LJMU’ director John Byrne, and co-convened with convivial researchers at the Center for Convivial Research and Autonomy Manolo Callahan and Annie Paradise, lecturer at the Academy of Fine Arts in Warsaw Kuba Szreder, Lead officer and cultural coordinator at Liverpool City Region Combined Authority Sarah Lovell, and LJMU PhD candidate Alessandra Saviotti, this panel will look at different strategies that are entangled with art, education and civic institutions in order to reveal and question power structures through hacking.

READINGS AND MEDIA

 Watch the panelists' presentations in advance and join for a live discussion and Q&A.

+ Manolo Callahan and Annie Paradise introduce their research as part of the Center for Convivial Research and Autonomy - WATCH HERE 

The Center for Convivial Research and Autonomy (CCRA) is a small collective that pursues community-based convivial research and insurgent learning imagined as “spaces of encounter.” These interconnected
initiatives weave together autonomous, community-centered urban Zapatismo at the intersections of environmental regeneration, community well-being, food sovereignty, and community safety. Our goal is to
circulate critical analytical skills, investigative tools, facilitation techniques, and community regeneration strategies that reclaim the habits of assembly across struggles.

Annie Paradise is a researcher with the Center for Convivial Research and Autonomy (CCRA), a transterritorial research collective based in the San Francisco Bay Area. Her work engages struggles confronting militarization and intersecting violences engendered by racial patriarchal capital, with a focus on social reproduction and the crisis of care.

Manuel Callahan is an insurgent learner and convivial researcher with the Center for Convivial Research and Autonomy. Callahan’s work explores three interwoven areas: the US/Mexico border and borderlands
historically and in the present; struggles for autonomy across the Americas including moments of Zapatismo in and beyond Chiapas; and convivial research and insurgent learning, a community-based horizontal
research approach that engages autonomous struggles throughout Greater Mexico. He also participates in the Universidad de la Tierra Califas and the several autonomous learning spaces it convenes. 

+ Kuba Szreder introduces the notion of artistic circulation and how to hack it - WATCH HEREtroduces

Kuba Szreder is a researcher, lecturer and interdependent curator, based in Warsaw, working as an associate professor at the department for art theory of the Academy of Fine Arts in Warsaw. In 2015 he was awarded PhD by the Loughborough University School of the Arts for the thesis about social and economic underpinnings of independent curating. He co-curated many interdisciplinary projects that hybridize art with critical reflection and social experiments, such as exhibition Making Use. Life in Postartistic Times (together with Sebastian Cichocki, Museum of Modern Art, Warsaw 2016). He actively cooperates with artistic unions, consortia of post-artistic practitioners, clusters of art-researchers, art collectives and artistic institutions in Poland, UK, and other European countries. In 2009 he initiated Free / Slow University of Warsaw, with which he completed several inquiries into the current conditions of artistic labor, publishing readers (Readings for Artworkers vol 1-2 [2009-2010], Joy Forever. Political Economy of Social Creativity [2014]) and research reports (Art Factory [2014]). Since 2012 he has actively cooperated with OFSW, an artistic trade union in Poland, co-running campaigns that targeted dismal labor conditions in contemporary art. In 2018, together with Kathrin Böhm, he established the Centre for Plausible Economies in London, a research cluster investigating artistic economies, with which he conducted research projects (Re:drawing the Economies [2018], The Art of Cooperativism [2019-2020]), and published articles and visual essays (Icebergian Economies of Contemporary Art [2020]). In 2018-2020 he was a member of the core team of Anti-fascist Year, a coalition of over 150 art institutions and informal collectives that protested rising authoritarianism. In 2020 he co-initiated the Office for Postartistic Services, the aim of which is to make use of artistic competences in support of progressive social movements. Editor and author of books, catalogues, chapters and articles tackling such issues as the political economy of global artistic circulation, art strikes, modes of artistic self-organization, instituting art beyond the art market and the use value of art. His most recent book The ABC of the projectariat. Living and working in a precarious art world, will be published by the Whitworth Museum and Manchester University Press in the Fall of 2021.

+ Alessandra Saviotti introduces her practice at the intersection of art and education looking at the principles of Arte Útil and how they can be used to infiltrate institutional contexts -  WATCH HERE   

Alessandra Saviotti (Italy, 1982) is a curator, educator and cultural activist who lives in Amsterdam. She is a PhD researcher at the Liverpool John Moores University - School of Art and Design. Her focus is on socially engaged art, collaborative practices and Arte Útil. Her work aims to realize projects where the public becomes a co-producer in the spirit of usership. Her reflection is taking into consideration collaborative processes according to the motto ‘cooperation is better than competition’. Since 2014 she has been working with the Asociación de Arte Útil especially aiming at emancipating the usership around the Arte Útil Archive. She is currently researching and writing about how alternative education models framed as Arte Útil could be successfully implemented within the institution of education fostering sustainability, hacking the institution itself. She is a member of Art Workers Italia and her most recent project is Decentralising Political Economies, realised in collaboration with The Whitworth (Manchester), LJMU's The City Lab and the Asociación de Arte Útil. She is a regular guest lecturer at the international Master Artist Educator and Master Education in Arts at the University of the Arts - ArtEZ, Arnhem (NL). She was part of the curatorial team of the 'Museum of Arte Útil' at the Van Abbemuseum (Eindhoven, NL); She led online and offline seminars at the San Francisco Art Institute (2017), California College of the Arts (2017), SALT Istanbul (2018), The Whitworth (2019), Chicago Architecture Biennial (2019), Accademia di Brera, Milan (2020), and she was the coordinator of the Escuela de Arte Útil at Yerba Buena Center for the Arts, San Francisco (US). Since 2007 has been working in collaboration with several institutions such as SFMOMA (US), MAXXI, Rome (IT), Delfina Foundation, London (UK), Middlesbrough Institute of Modern Art (UK), Visible Project (IT), Manifesta 7 (IT), UNIDEE – Cittadellarte (IT), SALT (TR), Estudio Bruguera (USA) e Studio Grilli (BE). She is a 2013-14 van Eyck Akademie fellow, a 2015 Mondriaan Foundation grantee and a 2014 Demo Movin'Up grantee and she has been awarded an international mobility grant from i-Portunus – Creative Europe in 2019.

+ Sarah Lovell introduces some projects part of the strategic plan to implement culture within the region such as the Borough of Culture initiative - WATCH HERE 

Sarah Lovell is the Lead Officer for Culture, within the Policy and Strategic Commissioning Directorate for the Liverpool City Region, Combined Authority, with strategic responsibilities to manage the implementation of the Culture & Creative Strategy - supporting and strengthening the role of culture and creativity as core drivers for the success of the City Region. 

With over 25 years of experience working within the participatory arts/theatre and education/learning sectors Sarah has worked for a wide range of regional and national arts cultural and heritage organisations including; Everyman & Playhouse Theatres, Royal Liverpool Philharmonic, Royal Exchange Theatre and National Museums Liverpool and within Further and Higher Education establishments including LIPA, LJMU and Chester University. In a former role at Arts Council England Sarah was Programme Director for the Young People's Participatory Theatre Project (2006 - 2009) a national programme to increase young people's access to and participation in theatre.

John Byrne (Moderator) is a Reader in The Uses of Art at Liverpool John Moores University where he is also the Lab Leader of The City Lab (which forms part of Liverpool School of Art and Design’s Institute of Art and Technology). Byrne is also currently Researcher and Writer in Residence at the Whitworth Art Gallery where he is Lead Researcher and Research editor for the Decentralising Political Economies Project/Platform (http://www.dpe.tools) which he developed on behalf of The Whitworth Art Gallery in collaboration with the Association of Arte Útil and the City Lab. From 2008 Byrne worked closely with the Van Abbemuseum on the development of  ‘The Autonomy Project’ and, in 2013, Byrne managed and co-ordinated Liverpool John Moores University’s participation in the L’Internationale project ‘The Uses of Art: The Legacy of 1848 and 1989’. In In September 2015 Byrne took on the role of Co-ordinator for the L’Internationale ‘Constituencies’ Research Strand  was lead editorial on the resulting L’Internationale publication ‘The Constituent Museum: Constellations of Knowledge, Politics and Mediation’ in 2018. In 2015 Byrne also became a Narrator/Curator of the L’Internationale ‘Glossary of Common Knowledge’ and, together with Zdenka Badovinca (Director of Moderna Galerija), co-curated a ‘Constituencies’ Glossary of Common Knowledge Seminar that was held in Liverpool at Liverpool John Moores University’s School of Art and Design in 2016. As well as this, Byrne has been an active member of The Association of Arte Útil (AAU) since 2013 when he collaborated with The AAU, Grizedale Arts and Tate Liverpool to install and run a temporary ‘Office of Useful Art’ during Tate Liverpool’s ‘Art Turning Left’ show in 2013/2014. Since then Byrne has also coordinated a series of pop up Offices of Useful Art at Liverpool School of Art and Design, The Granby 4 Streets area of Toxteth in Liverpool, and at the Florrie Institute in Liverpool. Via The City Lab, Byrne is committed to helping to growing and develop the Association of Arte Útil network as a worldwide constituency if artists, designers, activists, and makers who wish to explore ways in which we can use as art as a ground-up tool for imagining and making ourselves otherwise.

Byrne, J. (2020) Negotiating Jeopardy: Use Value, the Body and Political Dissent: The Autonomy Project Revisited, [online] Available at: https://dpe.tools/resources/negotiating-jeopardy

If you miss the live discussion, you can either  WATCH HERE or  LISTEN HERE.

‘Hackers can break the link between the demands of the capitalist class for the shaping of tools for its own use, and that of the workers for practical knowledge useful to their lives.’

According to A Hackers Manifesto (Wark, 2004) knowledge should be freed from scarcity in order to be put back to use for everyone, hence which practical tools we could use to make the hacking process real? This panel looks at the City Lab at Liverpool John Moores University as the catalysers for the development of theoretical and practical examples in order to activate change through infiltrating, hacking and undercommoning the institution of education and beyond. Moderated by City Lab at Liverpool School of Art and Design at LJMU’ director John Byrne, and co-convened with convivial researchers at the Center for Convivial Research and Autonomy Manolo Callahan and Annie Paradise, lecturer at the Academy of Fine Arts in Warsaw Kuba Szreder, Lead officer and cultural coordinator at Liverpool City Region Combined Authority Sarah Lovell, and LJMU PhD candidate Alessandra Saviotti, this panel will look at different strategies that are entangled with art, education and civic institutions in order to reveal and question power structures through hacking.

READINGS AND MEDIA

Watch the panelists' presentations in advance and join for a live discussion and Q&A.

+ Manolo Callahan and Annie Paradise introduce their research as part of the Center for Convivial Research and Autonomy - WATCH HERE  introduce the Center for Convivial Research and

The Center for Convivial Research and Autonomy (CCRA) is a small collective that pursues community-based convivial research and insurgent learning imagined as “spaces of encounter.” These interconnected initiatives weave together autonomous, community-centered urban Zapatismo at the intersections of environmental regeneration, community well-being, food sovereignty, and community safety. Our goal is to circulate critical analytical skills, investigative tools, facilitation techniques, and community regeneration strategies that reclaim the habits of assembly across struggles.

Annie Paradise is a researcher with the Center for Convivial Research and Autonomy (CCRA), a transterritorial research collective based in the San Francisco Bay Area. Her work engages struggles confronting militarization and intersecting violences engendered by racial patriarchal capital, with a focus on social reproduction and the crisis of care.

Manuel Callahan is an insurgent learner and convivial researcher with the Center for Convivial Research and Autonomy. Callahan’s work explores three interwoven areas: the US/Mexico border and borderlands historically and in the present; struggles for autonomy across the Americas including moments of Zapatismo in and beyond Chiapas; and convivial research and insurgent learning, a community-based horizontal research approach that engages autonomous struggles throughout Greater Mexico. He also participates in the Universidad de la Tierra Califas and the several autonomous learning spaces it convenes. 

+ Kuba Szreder introduces the notion of artistic circulation and how to hack it - WATCH HERE   introduces XXX - watch here

Kuba Szreder is a researcher, lecturer and interdependent curator, based in Warsaw, working as an associate professor at the department for art theory of the Academy of Fine Arts in Warsaw. In 2015 he was awarded PhD by the Loughborough University School of the Arts for the thesis about social and economic underpinnings of independent curating. He co-curated many interdisciplinary projects that hybridize art with critical reflection and social experiments, such as exhibition Making Use. Life in Postartistic Times (together with Sebastian Cichocki, Museum of Modern Art, Warsaw 2016). He actively cooperates with artistic unions, consortia of post-artistic practitioners, clusters of art-researchers, art collectives and artistic institutions in Poland, UK, and other European countries. In 2009 he initiated Free / Slow University of Warsaw, with which he completed several inquiries into the current conditions of artistic labor, publishing readers (Readings for Artworkers vol 1-2 [2009-2010], Joy Forever. Political Economy of Social Creativity [2014]) and research reports (Art Factory [2014]). Since 2012 he has actively cooperated with OFSW, an artistic trade union in Poland, co-running campaigns that targeted dismal labor conditions in contemporary art. In 2018, together with Kathrin Böhm, he established the Centre for Plausible Economies in London, a research cluster investigating artistic economies, with which he conducted research projects (Re:drawing the Economies [2018], The Art of Cooperativism [2019-2020]), and published articles and visual essays (Icebergian Economies of Contemporary Art [2020]). In 2018-2020 he was a member of the core team of Anti-fascist Year, a coalition of over 150 art institutions and informal collectives that protested rising authoritarianism. In 2020 he co-initiated the Office for Postartistic Services, the aim of which is to make use of artistic competences in support of progressive social movements. Editor and author of books, catalogues, chapters and articles tackling such issues as the political economy of global artistic circulation, art strikes, modes of artistic self-organization, instituting art beyond the art market and the use value of art. His most recent book The ABC of the projectariat. Living and working in a precarious art world, will be published by the Whitworth Museum and Manchester University Press in the Fall of 2021.

+ Alessandra Saviotti introduces her practice at the intersection of art and education looking at the principles of Arte Útil and how they can be used to infiltrate institutional contexts - WATCH HERE    i

Alessandra Saviotti (Italy, 1982) is a curator, educator and cultural activist who lives in Amsterdam. She is a PhD researcher at the Liverpool John Moores University - School of Art and Design. Her focus is on socially engaged art, collaborative practices and Arte Útil. Her work aims to realize projects where the public becomes a co-producer in the spirit of usership. Her reflection is taking into consideration collaborative processes according to the motto ‘cooperation is better than competition’. Since 2014 she has been working with the Asociación de Arte Útil especially aiming at emancipating the usership around the Arte Útil Archive. She is currently researching and writing about how alternative education models framed as Arte Útil could be successfully implemented within the institution of education fostering sustainability, hacking the institution itself. She is a member of Art Workers Italia and her most recent project is Decentralising Political Economies, realised in collaboration with The Whitworth (Manchester), LJMU's The City Lab and the Asociación de Arte Útil. She is a regular guest lecturer at the international Master Artist Educator and Master Education in Arts at the University of the Arts - ArtEZ, Arnhem (NL). She was part of the curatorial team of the 'Museum of Arte Útil' at the Van Abbemuseum (Eindhoven, NL); She led online and offline seminars at the San Francisco Art Institute (2017), California College of the Arts (2017), SALT Istanbul (2018), The Whitworth (2019), Chicago Architecture Biennial (2019), Accademia di Brera, Milan (2020), and she was the coordinator of the Escuela de Arte Útil at Yerba Buena Center for the Arts, San Francisco (US). Since 2007 has been working in collaboration with several institutions such as SFMOMA (US), MAXXI, Rome (IT), Delfina Foundation, London (UK), Middlesbrough Institute of Modern Art (UK), Visible Project (IT), Manifesta 7 (IT), UNIDEE – Cittadellarte (IT), SALT (TR), Estudio Bruguera (USA) e Studio Grilli (BE). She is a 2013-14 van Eyck Akademie fellow, a 2015 Mondriaan Foundation grantee and a 2014 Demo Movin'Up grantee and she has been awarded an international mobility grant from i-Portunus – Creative Europe in 2019.

Sarah Lovell introduces some projects part of the strategic plan to implement culture within the region such as the Borough of Culture initiative - WATCH HERE 

Sarah Lovell is the Lead Officer for Culture, within the Policy and Strategic Commissioning Directorate for the Liverpool City Region, Combined Authority, with strategic responsibilities to manage the implementation of the Culture & Creative Strategy - supporting and strengthening the role of culture and creativity as core drivers for the success of the City Region. 

With over 25 years of experience working within the participatory arts/theatre and education/learning sectors Sarah has worked for a wide range of regional and national arts cultural and heritage organisations including; Everyman & Playhouse Theatres, Royal Liverpool Philharmonic, Royal Exchange Theatre and National Museums Liverpool and within Further and Higher Education establishments including LIPA, LJMU and Chester University. In a former role at Arts Council England Sarah was Programme Director for the Young People's Participatory Theatre Project (2006 - 2009) a national programme to increase young people's access to and participation in theatre. 

+John Byrne (Moderator) is a Reader in The Uses of Art at Liverpool John Moores University where he is also the Lab Leader of The City Lab (which forms part of Liverpool School of Art and Design’s Institute of Art and Technology). Byrne is also currently Researcher and Writer in Residence at the Whitworth Art Gallery where he is Lead Researcher and Research editor for the Decentralising Political Economies Project/Platform (http://www.dpe.tools) which he developed on behalf of The Whitworth Art Gallery in collaboration with the Association of Arte Útil and the City Lab. From 2008 Byrne worked closely with the Van Abbemuseum on the development of  ‘The Autonomy Project’ and, in 2013, Byrne managed and co-ordinated Liverpool John Moores University’s participation in the L’Internationale project ‘The Uses of Art: The Legacy of 1848 and 1989’. In In September 2015 Byrne took on the role of Co-ordinator for the L’Internationale ‘Constituencies’ Research Strand  was lead editorial on the resulting L’Internationale publication ‘The Constituent Museum: Constellations of Knowledge, Politics and Mediation’ in 2018. In 2015 Byrne also became a Narrator/Curator of the L’Internationale ‘Glossary of Common Knowledge’ and, together with Zdenka Badovinca (Director of Moderna Galerija), co-curated a ‘Constituencies’ Glossary of Common Knowledge Seminar that was held in Liverpool at Liverpool John Moores University’s School of Art and Design in 2016. As well as this, Byrne has been an active member of The Association of Arte Útil (AAU) since 2013 when he collaborated with The AAU, Grizedale Arts and Tate Liverpool to install and run a temporary ‘Office of Useful Art’ during Tate Liverpool’s ‘Art Turning Left’ show in 2013/2014. Since then Byrne has also coordinated a series of pop up Offices of Useful Art at Liverpool School of Art and Design, The Granby 4 Streets area of Toxteth in Liverpool, and at the Florrie Institute in Liverpool. Via The City Lab, Byrne is committed to helping to growing and develop the Association of Arte Útil network as a worldwide constituency if artists, designers, activists, and makers who wish to explore ways in which we can use as art as a ground-up tool for imagining and making ourselves otherwise.

Byrne, J. (2020) Negotiating Jeopardy: Use Value, the Body and Political Dissent: The Autonomy Project Revisited, [online] Available at: https://dpe.tools/resources/negotiating-jeopardy

If you miss the live discussion, you can either  WATCH HERE or   LISTEN HERE.

‘Hackers can break the link between the demands of the capitalist class for the shaping of tools for its own use, and that of the workers for practical knowledge useful to their lives.’

According to A Hackers Manifesto (Wark, 2004) knowledge should be freed from scarcity in order to be put back to use for everyone, hence which practical tools we could use to make the hacking process real? This panel looks at the City Lab at Liverpool John Moores University as the catalysers for the development of theoretical and practical examples in order to activate change through infiltrating, hacking and undercommoning the institution of education and beyond. Moderated by City Lab at Liverpool School of Art and Design at LJMU’ director John Byrne, and co-convened with convivial researchers at the Center for Convivial Research and Autonomy Manolo Callahan and Annie Paradise, lecturer at the Academy of Fine Arts in Warsaw Kuba Szreder, Lead officer and cultural coordinator at Liverpool City Region Combined Authority Sarah Lovell, and LJMU PhD candidate Alessandra Saviotti, this panel will look at different strategies that are entangled with art, education and civic institutions in order to reveal and question power structures through hacking.

READINGS AND MEDIA

Watch the panelists' presentations in advance and join for a live discussion and Q&A.

+ Manolo Callahan and Annie Paradise introduce their research as part of the Center for Convivial Research and Autonomy - WATCH HERE    introduce the Center for Convivial Research and Autonomy

The Center for Convivial Research and Autonomy (CCRA) is a small collective that pursues community-based convivial research and insurgent learning imagined as “spaces of encounter.” These interconnected initiatives weave together autonomous, community-centered urban Zapatismo at the intersections of environmental regeneration, community well-being, food sovereignty, and community safety. Our goal is to circulate critical analytical skills, investigative tools, facilitation techniques, and community regeneration strategies that reclaim the habits of assembly across struggles.

Annie Paradise is a researcher with the Center for Convivial Research and Autonomy (CCRA), a transterritorial research collective based in the San Francisco Bay Area. Her work engages struggles confronting militarization and intersecting violences engendered by racial patriarchal capital, with a focus on social reproduction and the crisis of care.

Manuel Callahan is an insurgent learner and convivial researcher with the Center for Convivial Research and Autonomy. Callahan’s work explores three interwoven areas: the US/Mexico border and borderlands
historically and in the present; struggles for autonomy across the Americas including moments of Zapatismo in and beyond Chiapas; and convivial research and insurgent learning, a community-based horizontal research approach that engages autonomous struggles throughout Greater Mexico. He also participates in the Universidad de la Tierra Califas and the several autonomous learning spaces it convenes. 

+ Kuba Szreder introduces the notion of artistic circulation and how to hack it - WATCH HERE  int

Kuba Szreder is a researcher, lecturer and interdependent curator, based in Warsaw, working as an associate professor at the department for art theory of the Academy of Fine Arts in Warsaw. In 2015 he was awarded PhD by the Loughborough University School of the Arts for the thesis about social and economic underpinnings of independent curating. He co-curated many interdisciplinary projects that hybridize art with critical reflection and social experiments, such as exhibition Making Use. Life in Postartistic Times (together with Sebastian Cichocki, Museum of Modern Art, Warsaw 2016). He actively cooperates with artistic unions, consortia of post-artistic practitioners, clusters of art-researchers, art collectives and artistic institutions in Poland, UK, and other European countries. In 2009 he initiated Free / Slow University of Warsaw, with which he completed several inquiries into the current conditions of artistic labor, publishing readers (Readings for Artworkers vol 1-2 [2009-2010], Joy Forever. Political Economy of Social Creativity [2014]) and research reports (Art Factory [2014]). Since 2012 he has actively cooperated with OFSW, an artistic trade union in Poland, co-running campaigns that targeted dismal labor conditions in contemporary art. In 2018, together with Kathrin Böhm, he established the Centre for Plausible Economies in London, a research cluster investigating artistic economies, with which he conducted research projects (Re:drawing the Economies [2018], The Art of Cooperativism [2019-2020]), and published articles and visual essays (Icebergian Economies of Contemporary Art [2020]). In 2018-2020 he was a member of the core team of Anti-fascist Year, a coalition of over 150 art institutions and informal collectives that protested rising authoritarianism. In 2020 he co-initiated the Office for Postartistic Services, the aim of which is to make use of artistic competences in support of progressive social movements. Editor and author of books, catalogues, chapters and articles tackling such issues as the political economy of global artistic circulation, art strikes, modes of artistic self-organization, instituting art beyond the art market and the use value of art. His most recent book The ABC of the projectariat. Living and working in a precarious art world, will be published by the Whitworth Museum and Manchester University Press in the Fall of 2021.

+ Alessandra Saviotti introduces her practice at the intersection of art and education looking at the principles of Arte Útil and how they can be used to infiltrate institutional contexts - WATCH HERE   

Alessandra Saviotti (Italy, 1982) is a curator, educator and cultural activist who lives in Amsterdam. She is a PhD researcher at the Liverpool John Moores University - School of Art and Design. Her focus is on socially engaged art, collaborative practices and Arte Útil. Her work aims to realize projects where the public becomes a co-producer in the spirit of usership. Her reflection is taking into consideration collaborative processes according to the motto ‘cooperation is better than competition’. Since 2014 she has been working with the Asociación de Arte Útil especially aiming at emancipating the usership around the Arte Útil Archive. She is currently researching and writing about how alternative education models framed as Arte Útil could be successfully implemented within the institution of education fostering sustainability, hacking the institution itself. She is a member of Art Workers Italia and her most recent project is Decentralising Political Economies, realised in collaboration with The Whitworth (Manchester), LJMU's The City Lab and the Asociación de Arte Útil. She is a regular guest lecturer at the international Master Artist Educator and Master Education in Arts at the University of the Arts - ArtEZ, Arnhem (NL). She was part of the curatorial team of the 'Museum of Arte Útil' at the Van Abbemuseum (Eindhoven, NL); She led online and offline seminars at the San Francisco Art Institute (2017), California College of the Arts (2017), SALT Istanbul (2018), The Whitworth (2019), Chicago Architecture Biennial (2019), Accademia di Brera, Milan (2020), and she was the coordinator of the Escuela de Arte Útil at Yerba Buena Center for the Arts, San Francisco (US). Since 2007 has been working in collaboration with several institutions such as SFMOMA (US), MAXXI, Rome (IT), Delfina Foundation, London (UK), Middlesbrough Institute of Modern Art (UK), Visible Project (IT), Manifesta 7 (IT), UNIDEE – Cittadellarte (IT), SALT (TR), Estudio Bruguera (USA) e Studio Grilli (BE). She is a 2013-14 van Eyck Akademie fellow, a 2015 Mondriaan Foundation grantee and a 2014 Demo Movin'Up grantee and she has been awarded an international mobility grant from i-Portunus – Creative Europe in 2019.

+ Sarah Lovell introduces some projects part of the strategic plan to implement culture within the region such as the Borough of Culture initiative - WATCH HERE 

Sarah Lovell is the Lead Officer for Culture, within the Policy and Strategic Commissioning Directorate for the Liverpool City Region, Combined Authority, with strategic responsibilities to manage the implementation of the Culture & Creative Strategy - supporting and strengthening the role of culture and creativity as core drivers for the success of the City Region. 

With over 25 years of experience working within the participatory arts/theatre and education/learning sectors Sarah has worked for a wide range of regional and national arts cultural and heritage organisations including; Everyman & Playhouse Theatres, Royal Liverpool Philharmonic, Royal Exchange Theatre and National Museums Liverpool and within Further and Higher Education establishments including LIPA, LJMU and Chester University. In a former role at Arts Council England Sarah was Programme Director for the Young People's Participatory Theatre Project (2006 - 2009) a national programme to increase young people's access to and participation in theatre. 

+John Byrne (Moderator) is a Reader in The Uses of Art at Liverpool John Moores University where he is also the Lab Leader of The City Lab (which forms part of Liverpool School of Art and Design’s Institute of Art and Technology). Byrne is also currently Researcher and Writer in Residence at the Whitworth Art Gallery where he is Lead Researcher and Research editor for the Decentralising Political Economies Project/Platform (http://www.dpe.tools) which he developed on behalf of The Whitworth Art Gallery in collaboration with the Association of Arte Útil and the City Lab. From 2008 Byrne worked closely with the Van Abbemuseum on the development of  ‘The Autonomy Project’ and, in 2013, Byrne managed and co-ordinated Liverpool John Moores University’s participation in the L’Internationale project ‘The Uses of Art: The Legacy of 1848 and 1989’. In In September 2015 Byrne took on the role of Co-ordinator for the L’Internationale ‘Constituencies’ Research Strand  was lead editorial on the resulting L’Internationale publication ‘The Constituent Museum: Constellations of Knowledge, Politics and Mediation’ in 2018. In 2015 Byrne also became a Narrator/Curator of the L’Internationale ‘Glossary of Common Knowledge’ and, together with Zdenka Badovinca (Director of Moderna Galerija), co-curated a ‘Constituencies’ Glossary of Common Knowledge Seminar that was held in Liverpool at Liverpool John Moores University’s School of Art and Design in 2016. As well as this, Byrne has been an active member of The Association of Arte Útil (AAU) since 2013 when he collaborated with The AAU, Grizedale Arts and Tate Liverpool to install and run a temporary ‘Office of Useful Art’ during Tate Liverpool’s ‘Art Turning Left’ show in 2013/2014. Since then Byrne has also coordinated a series of pop up Offices of Useful Art at Liverpool School of Art and Design, The Granby 4 Streets area of Toxteth in Liverpool, and at the Florrie Institute in Liverpool. Via The City Lab, Byrne is committed to helping to growing and develop the Association of Arte Útil network as a worldwide constituency if artists, designers, activists, and makers who wish to explore ways in which we can use as art as a ground-up tool for imagining and making ourselves otherwise.

Byrne, J. (2020) Negotiating Jeopardy: Use Value, the Body and Political Dissent: The Autonomy Project Revisited, [online] Available at: https://dpe.tools/resources/negotiating-jeopardy 

If you miss the live discussion, you can either WATCH HERE or   LISTEN HERE.

‘Hackers can break the link between the demands of the capitalist class for the shaping of tools for its own use, and that of the workers for practical knowledge useful to their lives.’

According to A Hackers Manifesto (Wark, 2004) knowledge should be freed from scarcity in order to be put back to use for everyone, hence which practical tools we could use to make the hacking process real? This panel looks at the City Lab at Liverpool John Moores University as the catalysers for the development of theoretical and practical examples in order to activate change through infiltrating, hacking and undercommoning the institution of education and beyond. Moderated by City Lab at Liverpool School of Art and Design at LJMU’ director John Byrne, and co-convened with convivial researchers at the Center for Convivial Research and Autonomy Manolo Callahan and Annie Paradise, lecturer at the Academy of Fine Arts in Warsaw Kuba Szreder, Lead officer and cultural coordinator at Liverpool City Region Combined Authority Sarah Lovell, and LJMU PhD candidate Alessandra Saviotti, this panel will look at different strategies that are entangled with art, education and civic institutions in order to reveal and question power structures through hacking.

READINGS AND MEDIA

 Watch the panelists' presentations in advance and join for a live discussion and Q&A.

+ Manolo Callahan and Annie Paradise introduce their research as part of the Center for Convivial Research and Autonomy - WATCH HERE  introduce the Center for Convivial Research and Autonomy (CCRA) The Center for Convivial Research and Autonomy (CCRA) is a small collective that pursues community-based convivial research and insurgent learning imagined as “spaces of encounter.” These interconnected initiatives weave together autonomous, community-centered urban Zapatismo at the intersections of environmental regeneration, community well-being, food sovereignty, and community safety. Our goal is to circulate critical analytical skills, investigative tools, facilitation
techniques, and community regeneration strategies that reclaim the habits of assembly across struggles.

Annie Paradise is a researcher with the Center for Convivial Research and Autonomy (CCRA), a transterritorial research collective based in the
San Francisco Bay Area. Her work engages struggles confronting militarization and intersecting violences engendered by racial patriarchal capital, with a focus on social reproduction and the crisis of care.

Manuel Callahan is an insurgent learner and convivial researcher with the Center for Convivial Research and Autonomy. Callahan’s work explores three interwoven areas: the US/Mexico border and borderlands
historically and in the present; struggles for autonomy across the Americas including moments of Zapatismo in and beyond Chiapas; and convivial research and insurgent learning, a community-based horizontal
research approach that engages autonomous struggles throughout Greater Mexico. He also participates in the Universidad de la Tierra Califas and
the several autonomous learning spaces it convenes.

+ Kuba Szreder introduces the notion of artistic circulation and how to hack it - WATCH HERE  introduces  - watch here

Kuba Szreder is a researcher, lecturer and interdependent curator, based in Warsaw, working as an associate professor at the department for art theory of the Academy of Fine Arts in Warsaw. In 2015 he was awarded PhD by the Loughborough University School of the Arts for the thesis about social and economic underpinnings of independent curating. He co-curated many interdisciplinary projects that hybridize art with critical reflection and social experiments, such as exhibition Making Use. Life in Postartistic Times (together with Sebastian Cichocki, Museum of Modern Art, Warsaw 2016). He actively cooperates with artistic unions, consortia of post-artistic practitioners, clusters of art-researchers, art collectives and artistic institutions in Poland, UK, and other European countries. In 2009 he initiated Free / Slow University of Warsaw, with which he completed several inquiries into the current conditions of artistic labor, publishing readers (Readings for Artworkers vol 1-2 [2009-2010], Joy Forever. Political Economy of Social Creativity [2014]) and research reports (Art Factory [2014]). Since 2012 he has actively cooperated with OFSW, an artistic trade union in Poland, co-running campaigns that targeted dismal labor conditions in contemporary art. In 2018, together with Kathrin Böhm, he established the Centre for Plausible Economies in London, a research cluster investigating artistic economies, with which he conducted research projects (Re:drawing the Economies [2018], The Art of Cooperativism [2019-2020]), and published articles and visual essays (Icebergian Economies of Contemporary Art [2020]). In 2018-2020 he was a member of the core team of Anti-fascist Year, a coalition of over 150 art institutions and informal collectives that protested rising authoritarianism. In 2020 he co-initiated the Office for Postartistic Services, the aim of which is to make use of artistic competences in support of progressive social movements. Editor and author of books, catalogues, chapters and articles tackling such issues as the political economy of global artistic circulation, art strikes, modes of artistic self-organization, instituting art beyond the art market and the use value of art. His most recent book The ABC of the projectariat. Living and working in a precarious art world, will be published by the Whitworth Museum and Manchester University Press in the Fall of 2021.

+ Alesandra Saviotti introduces her practice at the intersection of art and education looking at the principles of Arte Útil and how they can be used to infiltrate institutional contexts - WATCH HERE  s -

Alessandra Saviotti (Italy, 1982) is a curator, educator and cultural activist who lives in Amsterdam. She is a PhD researcher at the Liverpool John Moores University - School of Art and Design. Her focus is on socially engaged art, collaborative practices and Arte Útil. Her work aims to realize projects where the public becomes a co-producer in the spirit of usership. Her reflection is taking into consideration collaborative processes according to the motto ‘cooperation is better than competition’. Since 2014 she has been working with the Asociación de Arte Útil especially aiming at emancipating the usership around the Arte Útil Archive. She is currently researching and writing about how alternative education models framed as Arte Útil could be successfully implemented within the institution of education fostering sustainability, hacking the institution itself. She is a member of Art Workers Italia and her most recent project is Decentralising Political Economies, realised in collaboration with The Whitworth (Manchester), LJMU's The City Lab and the Asociación de Arte Útil. She is a regular guest lecturer at the international Master Artist Educator and Master Education in Arts at the University of the Arts - ArtEZ, Arnhem (NL). She was part of the curatorial team of the 'Museum of Arte Útil' at the Van Abbemuseum (Eindhoven, NL); She led online and offline seminars at the San Francisco Art Institute (2017), California College of the Arts (2017), SALT Istanbul (2018), The Whitworth (2019), Chicago Architecture Biennial (2019), Accademia di Brera, Milan (2020), and she was the coordinator of the Escuela de Arte Útil at Yerba Buena Center for the Arts, San Francisco (US). Since 2007 has been working in collaboration with several institutions such as SFMOMA (US), MAXXI, Rome (IT), Delfina Foundation, London (UK), Middlesbrough Institute of Modern Art (UK), Visible Project (IT), Manifesta 7 (IT), UNIDEE – Cittadellarte (IT), SALT (TR), Estudio Bruguera (USA) e Studio Grilli (BE). She is a 2013-14 van Eyck Akademie fellow, a 2015 Mondriaan Foundation grantee and a 2014 Demo Movin'Up grantee and she has been awarded an international mobility grant from i-Portunus – Creative Europe in 2019.

+ Sarah Lovell introduces some projects part of the strategic plan to implement culture within the region such as the Borough of Culture initiative - WATCH HERE 

Sarah Lovell is the Lead Officer for Culture, within the Policy and Strategic Commissioning Directorate for the Liverpool City Region, Combined Authority, with strategic responsibilities to manage the implementation of the Culture & Creative Strategy - supporting and strengthening the role of culture and creativity as core drivers for the success of the City Region. 

With over 25 years of experience working within the participatory arts/theatre and education/learning sectors Sarah has worked for a wide range of regional and national arts cultural and heritage organisations including; Everyman & Playhouse Theatres, Royal Liverpool Philharmonic, Royal Exchange Theatre and National Museums Liverpool and within Further and Higher Education establishments including LIPA, LJMU and Chester University. In a former role at Arts Council England Sarah was Programme Director for the Young People's Participatory Theatre Project (2006 - 2009) a national programme to increase young people's access to and participation in theatre.

+ John Byrne (Moderator) is a Reader in The Uses of Art at Liverpool John Moores University where he is also the Lab Leader of The City Lab (which forms part of Liverpool School of Art and Design’s Institute of Art and Technology). Byrne is also currently Researcher and Writer in Residence at the Whitworth Art Gallery where he is Lead Researcher and Research editor for the Decentralising Political Economies Project/Platform (http://www.dpe.tools) which he developed on behalf of The Whitworth Art Gallery in collaboration with the Association of Arte Útil and the City Lab. From 2008 Byrne worked closely with the Van Abbemuseum on the development of  ‘The Autonomy Project’ and, in 2013, Byrne managed and co-ordinated Liverpool John Moores University’s participation in the L’Internationale project ‘The Uses of Art: The Legacy of 1848 and 1989’. In In September 2015 Byrne took on the role of Co-ordinator for the L’Internationale ‘Constituencies’ Research Strand  was lead editorial on the resulting L’Internationale publication ‘The Constituent Museum: Constellations of Knowledge, Politics and Mediation’ in 2018. In 2015 Byrne also became a Narrator/Curator of the L’Internationale ‘Glossary of Common Knowledge’ and, together with Zdenka Badovinca (Director of Moderna Galerija), co-curated a ‘Constituencies’ Glossary of Common Knowledge Seminar that was held in Liverpool at Liverpool John Moores University’s School of Art and Design in 2016. As well as this, Byrne has been an active member of The Association of Arte Útil (AAU) since 2013 when he collaborated with The AAU, Grizedale Arts and Tate Liverpool to install and run a temporary ‘Office of Useful Art’ during Tate Liverpool’s ‘Art Turning Left’ show in 2013/2014. Since then Byrne has also coordinated a series of pop up Offices of Useful Art at Liverpool School of Art and Design, The Granby 4 Streets area of Toxteth in Liverpool, and at the Florrie Institute in Liverpool. Via The City Lab, Byrne is committed to helping to growing and develop the Association of Arte Útil network as a worldwide constituency if artists, designers, activists, and makers who wish to explore ways in which we can use as art as a ground-up tool for imagining and making ourselves otherwise.

Byrne, J. (2020) Negotiating Jeopardy: Use Value, the Body and Political Dissent: The Autonomy Project Revisited, [online] Available at: https://dpe.tools/resources/negotiating-jeopardy

If you miss the live discussion, you can either WATCH HERE or   LISTEN HERE.

23 November 2021 | 17:00 - 19:00 GMT | PANEL DISCUSSION: Instituting as Praxis with Alistair Hudson (UK), Suzanne Lacy (USA), Tania Bruguera (CU)

23 November 2021 | 17:00 - 19:00 GMT | PANEL DISCUSSION: Instituting as Praxis with Alistair Hudson (UK), Suzanne Lacy (USA), Tania Bruguera (CU)

23 November 2021 | 17:00 - 19:00 GMT | PANEL DISCUSSION: Instituting as Praxis with Alistair Hudson (UK), Suzanne Lacy (USA), Tania Bruguera (CU)

23 November 2021 | 17:00 - 19:00 GMT | PANEL DISCUSSION: Instituting as Praxis with Alistair Hudson (UK), Suzanne Lacy (USA), Tania Bruguera (CU)

23 November 2021 | 17:00 - 19:00 GMT | PANEL DISCUSSION: Instituting as Praxis with Alistair Hudson (UK), Suzanne Lacy (USA), Tania Bruguera (CU)