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The link between Moscow art-group “Voina” and the movement of Moscow Conceptualism was clear when, in 2007, it planned a performance with the artist Dmitrii Prigov, called “Voina/War does only unskilled jobs”. Prigov died before he could take part in the performance but the group “Voina” has since carried out an ever more spectacular series of projects, bordering on pornography, as in the notorious performance "Fuck for the Heir Puppy Bear!", staged in February 2008, when five couples had public sex in Moscow’s Museum of Biology. This and other actions were filmed and posted on YouTube and other social networks, immediately going viral. The same M.O. was adopted in the actions of the group “Pussy Riot”, and in Ukraine by “Femen”.While more traditional media such as TV and radio are government monopolies, access to internet and social media is still free and provides a powerful means for these dissident groups to publicize their performances against the restoration of neo-Soviet ideology and to assert their non-conformist identity., Between, Vol 5, N° 10 (2015): L’immaginario politico. Impegno, resistenza, ideologia

This thesis investigates how “artivists’” enactment of the neoliberal reasoning reflects aspects of de-politicization? Inspired by Michel Foucault’s “Lectures at the Collège de France, 1978-79” I first examine the separation of politics and economy of the modern governmental reason as it is manifested in the US strategy to transform the Cuban governmental alternative. I look at the inclusion of the Cuban transnational political community in the formulation of the US foreign policy toward Cuban to understand the way that its political interest and practices are de-territorialized from the Cuban political economic processes. I show that the Cuban transnational political community’s partial inclusion in the neoliberal governance, frame their political practices that aim to transform politics in Cuba within the transformation of Cuba’s governmental reason. Cuba is not included in the market processes. The politicization of “Human Rights” create the condition in which the political subject in practices of “artivism” is included in the transnational liberal struggle for freedom. “Artivists’” identification with “Human Rights” allows for the neoliberal governmental reason to transform “artivists’” political subjectivity. I show how the neoliberal governmental rationality is enacted through contestational politics in “artivism”. The neoliberal governmental rationality appears in the political subject in practices of “artivism” through its identification with the “Human Rights”, rather than as a product of the expansion of the market logic to other spheres. The de-politicization of the political subject in practices of “artivism” happens through its inclusion in the neoliberal governance. It results from the idea that freedom can be achieved with the state’s political transformation, the state governmental self-limitation, independently of economic processes. “Artivists” are included in the neoliberal governance as a subject that has relinquished its rights over the state governance, as a subject that has accepted the principle of “self-limitation”, that allows for its independence from the state governance and freedom, but is excluded from economic processes. I conclude by arguing that the political subject in practices of “artivism” has been relatively free from the Cuban collective political agreement and state governance while being protected from the negative effect of the unregulated market.

Author(s): Sanchez, Fernanda; Moreira, Clarissa; Santos, Rosane; Grossi, Grasiele; Guterman, Bruna | Abstract: This paper discusses the social experience of resistance to urban interventions in Morro da Providencia (Providence Hill)—one of the oldest neighborhoods in Rio de Janeiro—where the project Porto Maravilha was launched in 2009. According to this project, the port area of the City of Rio would be renovated. That would result in the displacement of 832 families from their homes. Without prior warning, their homes were marked for removal. A series of rights violations took place, triggering a strong public reaction, which resulted in a legal action that stopped the removal process. Some collective resistance movements in Providencia worked in partnership with foreign artists to use art in the struggle for space. Chief among them was the Favelarte Institute. Founded by Mauricio Hora, photographer and resident of Providencia, the Institute has been developing artistic, cultural, and socio-educative activities since the 2000s. The results were critical and mobilizing interventions that gained high international exposure, thus taking resistance to a different level and becoming instrumental for the public struggle in Morro da Providencia.

This article tests a comparative and trans-disciplinary methodology I am developing for a research project titled ‘Un-Walling the Mediterranean Sea. New Southern performances: towards a no-border wall poetics and politics of togetherness’. The article investigates ways to develop and make visible MediterrAtlantic theories and performances inspired by grass-roots activism and artivism in order to disrupt Eurocentric geopolitical cartography. To this end, I will make reference to many (de)signs disseminated by trans-Mediterranean intellectuals, activists, artists, migrants and refugees along the Mediterranean routes and\ud walls, as a way to shape both an Asian-African-European Mediterranean consciousness and a new TransMediterrAtlantic one. Finally, I will use as a case study Io sto con la\ud Sposa, a docufiction on the experience of asylum seeking in Europe, by Antonio Augugliaro, Gabriele del Grande and Khaled Soliman (2014).

This article centres on the exchange of necessities, projections, ways of behaving and of establishing relations, of people involved in participatory art projects and collective artistic practices. For that, we explore how these exchanges happen, thinking about the transactions (from the point of view of the Transactional Analysis), the transferences and counter transferences (from Freudian Psychoanalysis), the concept of “habitus” (of Pierre Bourdieu’s sociology) and the transitional phenomena (from Donald W. Winnicott’s theory). We cross these concepts with the artistic fact andspecifically with ways of doing art usually appointed under labels such as Participatory Art, Collaborative Art, Relational Art, Dialogical Art, Community Art, Social Engaged Art, Artivism, New Genre Public Art and Useful Art. We pay attention to artistic practices that specifically put the focusof interest on exploring different possibilities of sociability that let people and collectives make transitions (ideological, practical, emotional, material, relational ones…) from one situation or position to another. We call “Transart” to this kind of artistic practice that works under the idea that art isa human creation that experiment with ways of exchange, that facilitate transits and that can contribute to processes of transformation.

La autora discute en este artículo el privilegio del cuerpo cyborg desde una mirada crítica de los vínculos entre la cibernética y el Manifiesto Cyborg (1984), de Donna Haraway. Asimismo cuestiona al ciberfeminismo como medio contemporáneo para la acción colectiva y propone revisar las gramáticas desde las interactuamos y hacemos comunicación. Por último, y a partir de los conceptos de artivismo y de arte político postula la necesidad de pensar la performance como espacio de incidencia feminista, como experiencia estética y como forma de comunicación alternativa través de los cuerpos., The authoress discusses in this article the privilege of the cyborg body from a critical view of the links between cybernetics and the Manifiesto Cyborg (1984), by Donna Haraway. It also questions cyberfeminism as a contemporary media of collective action and proposes to look over the grammars from interacting and making communication. Finally, and from the concepts of artivism and political art it postulates the need to think of performance as a space for feminist advocacy, an aesthetic experience and a form of alternative communication through bodies., Facultad de Periodismo y Comunicación Social

Ao longo da História foram-se construindo narrativas éticas e estéticas onde encaixar socialmente a dissensão. Nomeadamente na arte e no ativismo, que num certo nível se têm aproximado. Por um lado, com o crescente interesse da arte contemporânea pelo político, apesar de o sistema limitar frequentemente a crítica política a uma mera estetização disciplinada. Por outro lado, com os novos / novíssimos movimentos sociais a recorrerem a práticas vindas das artes nos seus protestos. Neste artigo, aponto o potencial do corpo como espaço político e artístico para integrar arte e ativismo. Esse potencial reside na incorporação de uma emoção de entrega capaz de gerar mudanças a partir da performance, num paradigma onde para além da “arte pela arte” emerge uma “arte atuante”. Throughout history different forms of narratives have been used to describe dissent in a socially acceptable way. This is especially the case within arts and activism, both of which have more and more approached each other. On the one hand, contemporary art has become increasingly interested in politics, even though the art industry tends to reduce political commentary to disciplined forms of aestheticisation. On the other hand, recent social movements in their protests have been recurring to practices borrowed from the arts world. In this article, I discuss the human body’s potential as a political and artistic site for the integration of art and activism, a potential that derives from its ability to embody an emotion of commitment, capable of generating changes through performance, within a paradigm where beyond “Art for art's sake” emerges an “acting art”.

Este ensaio trata das performances artivistas em torno de movimentos pró-imigratórios nos Estados Unidos, mais especificamente na região da Baía de San Francisco, abordando particularmente o projeto “I am Undocuqueer”, do artivista latino-estadunidense de origem mexicana Julio Salgado. Busca-se ressaltar as maneiras locais pelas quais o contemporâneo movimento social em torno dos direitos imigratórios nos EUA catalisa também outras formas de pensar sobre arte e política, principalmente entre populações latinas em seu processo de organização social e cultural, enfocando os movimentos e individualidades que se autodefinem como queer of color. Neste contexto, indivíduos articulam sentidos locais para o artivismo que desenvolvem - profundamente envolvidos na reclamação de direitos civis - e comprometidos em abrir espaços para a configuração de distintos processos identitários interseccionais, além de fomentarem outras discussões sobre o que seja a “nação americana”, remetendo a debates abrangentes sobre cidadania no século XXI. This article analyses artivist initiatives around pro-immigrant movements in the United States, more specifically in the San Francisco Bay Area. It address particularly the "I am Undocuqueer" project developed by the Mexican-American artivist Julio Salgado, highlighting the local ways in which contemporary social movements concerned with immigration rights in the US catalyze other ways of thinking about art and politics, especially among Latino populations, focusing on the movements and individuals who define themselves as «queer of color». Within this context, individuals are articulating local definitions around what artivism means, developing meanings that are deeply involved in a movement of reclaiming their civil rights. This also makes room for the configuration of distinct intersectional identity processes and fosters further discussion on what is actually meant by the "American nation", referring to a broad debate on citizenship in the twenty-first century.

Este artigo, escrito na primeira pessoa, parte do meu testemunho pessoal, da vivência enquanto cidadã e investigadora social, sobre o ambiente vivido desde 2008 até à atualidade em Portugal, em especial na cidade de Lisboa mas, também, abordando pontualmente alguns exemplos do Porto, Guimarães ou Évora: um contexto de crise social, económica e política que tem vindo a reactualizar e a restaurar algumas características do imaginário revolucionário do 25 de Abril de 1974, que se apresenta como um “guião” pronto a usar mas, também, a reinventar e questionar. Este ambiente criado (Harvey 2008), vivido e sentido pelo cidadão na sua relação com o espaço público — de que fazem parte as ruas, os espaços culturais, as redes sociais na internet — contém hoje uma intensa performatividade, que é pontuada pela emergência de manifestações a(r)tivistas de base performativa (com diversos graus de mobilização da transformação social), mas também de processos de apagamento ou silenciamento institucional das mesmas. É essa dialéctica que procurarei analisar neste testemunho, cuja base assenta essencialmente da observação “empírica” que decorre da minha vivência quotidiana e da minha experiência como “espetadora”. Written in the first person, this article is part of my personal testimony, of my experience as a citizen and social researcher, with regard to the social environment faced from 2008 to the present in Portugal, especially Lisbon, but also in the cities of Porto, Guimarães and Évora. It involves a context of social, economic and political crisis that has been (re-)inventing and restoring some of the characteristics of the revolutionary mindscape of 25 April 1974. The latter is presented as a "script" ready to use, though also to reinvent and challenge. This environment was created (Harvey 2008), experienced and felt by citizens in their relationship with public space – which includes streets, cultural spaces and the social networks on the internet. Today, it is imbued by an intense performativity, which is punctuated by the emergence of performativity-based activist/”artivist” manifestations (with varying degrees of social change), as well as processes that institutionally erase or silence these very manifestations. It is this dialectic that I intend to examine in my testimony, which is essentially based on “empirical” observation that stems from my daily life and my experience as a "spectator".

Series Introduction Katriina Soini and Joost Dessein Introduction Part 1: Culture and Sustainable Development of European Cities - What are the Issues? 1. Cultural Sustainability in Small and Medium-sized Cities: What Are the Issues? Helmut K. Anheier and Michael Hoelscher 2. Civic Urbanity: Looking at the City Afresh Charles Landry 3. We, European Cities and Towns: The Role of Culture for the Evolving European Model of Urban Sustainability Svetlana Hristova 4. Culture, Quality of Life and Sustainable Urban Development Aldo Milohnic Part 2: Europolis as a Project - Envisioning More Sustainable Cities 5. European Cities as Cultural Projects: Where is Culture in Urban Sustainability Policy? Nancy Duxbury 6. Culture in development strategies of small and medium-sized European cities: A comparative analysis Elisabete Caldeira Neto Tomaz 7. Cultural Policy-making by Networking: Local Cooperation and Global Competition in Small and Medium-sized Italian Cities Davide Ponzini 8. European Capitals of Culture and urban diplomacy Rolf Hugoson Part 3: Culture for Sustainable Development in Urban Policies and Practicies 9. A place in the city: Recognizing creative inclusion Francois Matarasso 10. Cultural access and activation: Civic participation in local sustainable communities Anita Kangas and Sakarias Sokka 11. Provincial Poland: Sustainable development and culture in small and medium-sized towns Katarzyna Plebanczyk 12. Culture, sustainable development, and innovation: The case of Norrby, Sweden Jenny Johannisson 13. The town is the venue: "Place-making" at the heart of cultural policy David Stevenson and Rachel Blanche Part 4: Making the city resilient: Building Communities through artivism 14. Mobilizing urban neighbourhoods: Artivism, identity, and cultural sustainability Milena Dragicevic Sesic, Aleksandar Brkic and Julija Matejic 15. Land, people, and art: An attempt to renew social identity in the Czech Republic Miloslav Lapka, Eva Cudlinova 16. Strumica, the city I want to live in! Loreta Georgievska Jakovleva and Misel Pavlovski 17. Artistic/design practices, art education, and sustainable development: A question of design or of mutual transition? Nelly van der Geest

Naslovnu temu o artivizmu ilustrirat ću recentnim lokalnim primjerom postdramskoga kazališta — projektom 'A gdje je revolucija, stoko?' kazališne skupine Montažstroj. Milohnićev termin artivizam podjednako uključuje i aktivističku i umjetničku praksu. Performativni element, upad realnog — razbijanje kultne ploče 'Paket aranžman' čekićem, što izvodi Ante Perković — možemo iščitati kao poništavanje materijalizacije glazbe i njezino oslobađanje od tržišnih zakona. Predstava u cjelini počiva na sučeljavanju koncepta autorskih prava i njemu suprotstavljenog 'copylefta', referirajući se na svoj izvedbeni arhitekst, predstavu 'MČŽPC', koja je zabranjena zbog kršenja autorskih prava., The author tries to illustrate the issue of artivism through the recent local example of post-dramatic theatre — a project 'Where is the Revolution, Scum?', performed at the Belgrade International Theatre Festival in 2014 and the Zagreb Youth Theatre in 2015 by the Montažstroj performing troupe, directed by Borut Šeparović. Milohnić’s term 'artivism', which he created according to the concept 'ar/ctivism' of Marion Hamm, equally includes activist and artistic practice. The performative element, a drop of reality, hitting with a hammer at a cult album, the vinyl record 'Paket aranžman' (published in 1981), which is performed by Ante Perković, can be read as cancelling materialization of music and its release from market laws. In its entirety, 'Where is the Revolution, Scum?' is built on opposing copyright and copyleft in reference to its performative archi-text, the performance of 'MČŽPC', which was banned due to copyright infringement.

In the contemporary imaginary, our common future is prefigured more often as a dystopia – life in extreme conditions of oppression, vigilance, deprivation – than as the utopian forms that stimulated the modernist imagination. Here, we discuss whether art may work as a device of resistance at this awful perspective: which artistic gestures are capable of challenging our ways of life and modifying them. We analysed an experimental collection of aesthetic-political gestures such as urban interventions, happenings, installations and site-specific acts based on displacement that we designate under the sign of artivism developed in an open group of artistic-academic research. How can art stand out as an act of resistance in our “societe du spectacle” saturated by a normative media that controls our everyday conducts? How such experiences of urban art may displace the conventional actor-spectator expectations and introduce counter-conducts in the representational system?

The importance of data literacy and the need of raising and improving it through formal educational channel or public engagement has repeatedly been flagged up in each of the past Economic and Social Research Council-funded Data-Psst! Seminar I attended in 2014–2016. There is a real demand for action taking. I took advantage of the knowledge I learned from the Data-Psst seminars and devised a module teaching Level 5 undergraduate media students about critical issues in today’s data-centric digital society, including privacy and surveillance. In this article, I share how the class activities were devised and carried out, and how guided engagement with the current debate in privacy and surveillance were realised. I also draw on relevant pedagogical theories to discuss my educational approaches, student performance, the challenges of the project, and evaluate and reflect upon the outcomes. This report from the field provides fresh first-hand information about the data ethics of the younger public who are practising media arts and their behaviours and attitudes towards privacy and surveillance. This article shall open up the discussion about the role educators play in enriching public engagement with critical thinking about Big Data. The lessons learned can also contextualise the pedagogical implication of the recent scholarly research on Big Data and privacy, and provide a framework for constructing future collaborative or creative projects.

En los últimos años, ante la crisis financiera y el consiguiente desmantelamiento de los derechos sociales y laborales en España, cada vez más colectivos e individuos han recurrido en sus protestas y reivindicaciones a prácticas colaborativas que tienen como escenario el espacio público. Tales prácticas, en la medida en que tienen un sesgo artístico, entran dentro de la categoría de lo que denominamos artivismo. Se analizarán formas y tácticas performativas y su articulación en el espacio público, a través de varios ejemplos. Para un examen más detallado, se han escogido las movilizaciones contra el plan de privatización de algunos hospitales y centros de atención primaria de Madrid. Varios motivos las convierten, a nuestro entender, en un caso de estudio idóneo: su emplazamiento geográfico (Madrid) y su límite temporal (noviembre de 2012 hasta febrero de 2014), su amplia repercusión mediática, la utilización de múltiples e imaginativas actuaciones performativas, las estrategias de ocupación del espacio público y los lugares elegidos para estas acciones de artivismo., In recent years, before the financial crisis and the subsequent dismantling of social and labor rights in Spain, more and more groups and individuals have turned in their protests and demands to collaborative practices with public space as a stage. Such practices, insofar as they have an artistic bias, fall into the category of what is called artivism. Performance forms and tactics, as well as their articulation in public spaces, will be discussed through several examples. For a more detailed discussion, we have chosen the mobilizations against the plan to privatize a number of hospitals in Madrid and primary care centers. In our opinion, they are an ideal case study for several reasons: their geographical location (Madrid) and time frame (November 2012 to February 2014), extensive media coverage, the use of multiple and imaginative performance practices, the spatial strategies of occupation of public space and the places chosen for these artivist actions.

http://revistaseug.ugr.es/index.php/tsg/article/view/953/1071, En este artículo defiendo una recuperación del Trabajo Comunitario para el contexto actual. En primer lugar propongo una noción de comunidad situada en «lo político» y una propuesta para el Trabajo Social Comunitario centrado en las prácticas creativas y artísticas. En segundo lugar abordo las prácticas de resistencia y las alternativas para el cambio que en cada caso, para el Trabajo Comunitario las he centrado en el Artivismo y en el Crowdfunding. Para cada una de ellas presento un caso concreto que dé cuenta de su implicancia en la emergente reorganización capitalista y en el lugar que a mi juicio, debe ocupar el Trabajo Social sino quiere quedar fuera de la historia y como posibilidad de constituirse como agente de la misma., In this paper I defend a recovery of community work for the current context. First, I propose a notion of community situated in 'the political' and a proposal for community social work focused on creative and artistic practices. Second, I approach practices of resistance and alternatives for change, which in each case for Community Work I have focused on Artivism and the Crowdfunding. For each I present a case which offer of its implications in the emerging capitalist reorganization and the rightful place of social work, if don't want to get off of the history but how become as a change agent.

International audience

A crise socioeconómica dos últimos anos espoletou uma vaga de protestos em Portugal, de onde emergiram certos movimentos sociais que têm adotado performatividades no espaço público que, pelo seu frequente cruzamento de estratégias artísticas e ativismo político, adquirem um caráter artivista. Esta tese pretende analisar de que modo ações performativas artivistas – graças ao poder simbólico das suas formas de expressão apropriadas do campo das artes visuais e do espetáculo – têm contribuído para veicular representações de contrapoder, permitindo a qualquer cidadão obter uma voz na esfera pública com impacto político. Interpretou-se esse processo artístico de fazer política segundo um processo artístico de fazer antropologia, somando-se à dissertação escrita uma interpretação antropológica visual que, num exercício metaperformativo, levou à criação de uma videoinstalação multicanal com imagens de dez performances artivistas. The socio-economic crisis of the last years triggered a wave of protests in Portugal, in which context certain social movements have adopted performativities in the public space that acquired an "artivist" character, due to their frequent overlapping of artistic strategies and political activism. This thesis analyses the ways in which "artivist" performative actions – thanks to the symbolic power of the visual arts and performing arts field's appropriate ways of expression – have contributed to convey counter-power representations that allow any citizen to have a voice in the public sphere and have a real political impact. That artistic process of doing politics was interpreted through an artistic process of doing anthropology, adding a visual anthropological interpretation to the written dissertation that, in a metaperformative exercise, led to the creation of a multichannel video installation constituted by images of ten "artivist" performances.

Digital media has played a very significant role in anti-government protests in the Middle East (in Iran, Egypt, Syria and so on) over the last four years It has changed the rules of political struggle and established new expectations and rules of confrontation for both protesters and authoritarian governments in the region. The Greens' Art research project will be a curated exhibition of digital art and other works developed during the pre- and post-election period (2009-11), situated alongside participants' accounts of the role of these works in the grassroots Iranian Green Movement.

This Thesis explores artistic activism or artivism in the context of youth in post- revolution Tunisia. During and after the Arab Uprisings, the MENA region has experienced a tendency, wherein resistance is undertaken by artivists through in situ art interventions, music, and performances that create ‘new cultural spaces’, in which cultural hybridism through the mix of urban youth subculture, communication and traditional culture, creates new contexts of authenticity. It further investigates how art and activism is used in Tunis as a tool to mirror, provoke or communicate messages that directly or indirectly deal with post-revolution themes, and which mechanisms exist in limitations of artistic freedom of expression.It utilizes concepts of cultural resistance through theorists Stephen Duncombe and discusses the concept artivism as a hybrid term, through Aldo Milohnic. It then delineates subculture, authenticity and hybridization through various theorists and examines Artistic Freedom of Expression through the standpoint of international conventions and reports. The Thesis also analyzes artistic activism, commodification and globalization through a re-contextualization of Theodor Adorno and Walter Benjamin.Guiding this analysis are interrelated points of redefining Arab youth subcultures, through interviews conducted with five young Tunisian artists who combine artistic expression with political commentary and activism. I argue that a new dynamic discourse is shaped in the MENA region through the re-mixing of a cultural narrative which becomes re-contextualized locally, and therefore becomes authentic in a ‘glocal’ context. The Thesis offers analytical contribution to the field of cultural production in a Tunisian political context and adds to the research field of artistic activism.

This essay considers, through analysis of two interrelated art projects, the roles that technology and art play in the metaphors that serve, both imaginatively and literally, to form, maintain, surveil, and dissolve borders. The first, the Transborder Immigrant Tool, is a poetic and geo-locative project by artist collective Electronic Disturbance Theatre 2.0 (EDT 2.0). The Tool was designed to aid migrants crossing the US-Mexico border as a “last mile safety device,” by leading users to water caches in the desert and playing audio files of desert survival poetry. The second is a related poetry series by trans* poet and artist Micha Cárdenas (a member of EDT 2.0), exploring the possible dislocations of “unexecutable code poetry” to unpack the way each of these poetic projects form a figuration of transness as/at a border crossing or, indeed, a border dissolving. Both of these projects subvert the metaphors and applications of global positioning (GPS) technology to question the fixities of national and bodily borders. This essay considers how and to what extent the ‘trans’ of ‘transborder’ might be coterminous or conversant with the ‘trans’ of ‘transgender,’ as well as how ‘trans*’ might be wielded conceptually to unpack the functions and slippages of the metaphors that produce and maintain borders of all kinds.

Dans le contexte de métropoles de plus en plus tournées vers la valorisation de leurs singularités patrimoniales, émergent de nouvelles formes d’interventions portées par des mouvements de résistance utilisant l’art et la culture comme supports de contestation et de revendication citoyenne. Ce phénomène, observé dans des métropoles d’espaces riches ou pauvres sans distinction, inspire l’étude d’une initiative artistique menée dans la favela de Morro da Providência, à Rio de Janeiro, de son caractère multiforme et des rapports complexes qu’elle établit avec les lieux. Cette expérience « artiviste », par la médiation du lieu, rendue possible par l’usage des médias et par un jeu d’images permet-elle de faire entendre des sujets, que ce soit l’artiste ou l’habitant ou, au contraire, doit-elle être caractérisée comme éphémère, et ainsi se voir limitée dans sa capacité de remise en cause politique ?, Emerging from a backdrop of metropolises oriented more and more towards promoting the singularities of their heritage, are new forms of interventions, crafted by resistance movements using art and culture to support protests and demands by city-dwellers. This phenomenon, observed both in rich and poor spaces, is the inspiration for a study of an artistic initiative carried out in the favela of Morro da Providência, in Rio de Janeiro, and exhibiting the multiple forms and complex relationships it has with the places investigated. But does this “activist” experience, mediated by the use of the press and actualized by the interplay of imagery, provide the subject – an artist or inhabitant – with an opportunity to be heard? Or, in contrario, should this experience be considered as an ephemeral curbing the subject’s ability to challenge politics?, Del contexto de metrópolis emergen nuevas formas de intervención orientadas cada vez más hacia la valorización de sus singularidades patrimoniales. Estas son la obra de movimientos de resistencia que utilizan el arte y la cultura como base de contestación y reivindicación ciudadanas. Este fenómeno, observado en las metrópolis de espacios indistintamente ricos o pobres, inspira el estudio de una iniciativa artística realizada en la favela Morro da Providência, en Rio de Janeiro. Se tiene en cuenta el carácter multiforme de esa iniciativa y las relaciones complejas que ella establece con los lugares. Esta experiencia “artivista”, gracias a la mediación del lugar lograda por los medios información y juego de imágenes, permitirá escuchar artistas y habitantes o, al contrario, sería efímera y tendría capacidad limitada al cuestionamiento político

This article presents a case study of the assembled events of The Partisan Cafe and The Museum of Burning Questions, curated by the transnational group freethought as part of their contribution to the Bergen Assembly 2016. It is argued that the assemblage forms an experiment to materialize present theories of radical democracy and the radical art institution, respectively, and take the form of a para-institutional artivism. On this ground, and drawing on the concept of the assemblage, it is discussed what the outcome and learning of the experiment might be. The events played simultaneously in the city and on social platforms such as Facebook, mixlr and vimeo and together with released material on the internet from freethought these resources provide the empirical base of the case study. The authors participated in the opening week of September 2016 and the analyses are supported by on site observation.

While collaborative research has mainly focused on the relationship between researchers and research partners in the field, several recent works have contributed to reflecting on the relationships between researchers of various backgrounds and roles, and the challenges and benefits of teamwork. While conducting the ERC-funded ARTIVISM project, I have continued to rethink the ways research can be conducted collectively, especially when starting from a multi-sensory approach and by applying apprenticeship and audio-visual techniques. I developed the method of field-crossing, which allows the researcher to regularly contrast perspectives and perceptions, and which helps researchers regain emotional and intellectual independence after an intensive, year-long period of fieldwork as and among artivists. The article shows how field-crossing allows its practitioners to reflect in an innovative way on their positioning in a field, open new perspectives, integrate surprises and disruptive and unexpected developments, and cope with inner and collective conflicts. Finally, collective feedback sessions about text and image publications (comics, films) with the artivists are not only part of our ethical approach but also serve as elicitation sessions which reflect the complexity of field relations and individual and collective perspectives among and between field-crossers and artivists.