The Walking Reading Group on Participation (booklet)

THE WALKING READING GROUP ON PARTICIPATION

FACILITATED BY ANIA BAS AND SIMONE MAIR

SUPPORTED BY MFA CURATING GOLDSMITHS

THE GROUP OFFERS a chance to discuss the issues

surrounding participation, engagement, collaboration and social practice through a dynamic walking reading group.

For each session, some texts will be set in advance, and will form the backbone of the exchange. We will depart from a venue and walk for up to an hour, swapping conversations and partners several times. A part from the discussed texts and personal experiences, art projects related to the area will form our dialogues.

The selection of texts and the applied dynamic methodology is an attempt to view beyond the binary logic of Socially Engaged Art practices, which often oppose participation to exclusion, nature to culture, thus subject to object.

TUE 21ST MAY 2013 6:00 - 9:00 PM GASWORKS / LONDON

When you consider that participation in the new art includes having dinner, drinking bear, designing a new candy bar and running a travel agency, there seems to be justification in talking about declining ambition for the politics of participation. / David Beech

Simply put, participation cannot deliver what participation promises. In both art and politics, participation is an image of a much longed for social reconciliation but it is not a mechanism for bringing about the required transformation. (‌) in art, participation seems to offer to heal the rift between art and social life without the need for any messy and painful confrontations between cultural rivals. / David Beech

(…) Do you have grand plans?

/ Frances Williams

Less concrete plans and more a set of political desires.

These desires are born from the knowledge I carry from the theories of spatial politics, and from my own commitments to collaboration, group work and histories of involvement in concrete political struggles.

I carry these commitments and the local contexts in which I have worked before into every project. / Janna Graham

(…) there are ground rules that I suppose I aspire to on all projects: that people should be attempting to achieve equitable relations, that they should have agency over the projects that they’re involved in, that artists and people be in some kind of co-problematising relationship where something really interesting happens around the analysis of power and where they have each been put in society.

It’s important to me that production of knowledge happens in ways that aren’t easily captured within structures of commodification and it is a grand aspiration that the work contributes to some kind of actual change towards social justice in the world. / Janna Graham

The project on the estate became a microcosm and through it you are able to witness some of the complexities of political representation and see why social change appears so difficult. Reading about social science is different to talking and working with people who experience social deprivation directly. You can learn equally from both, of course, but sometimes I’m a bit wary of abstract notions and where they can lead because I always think of the people who are often at the end of that. / Frances Williams

When I am working in social movements, I’m struck really often by the fact that a lot of the conundrums we face are very similar to the conundrums that have faces the art world. Many of these are in relation to issues of participation, of who is speaking and who is listening, about how and at what costs one enters into structures of representation. The shared history of the avant-garde and its crises is likely responsible for this. / Janna Graham

While antagonism is a we/they relation in which the two sides are enemies who do not share any common ground, agonism is a we/they relation where the conflicting parties, although acknowledging that there is no rational solution to their conflict, nevertheless recognize the legitimacy of their opponents. / Chantal Mouffe

We could say that the task of democracy is to transform antagonism into agonism. / Chantal Mouffe

We can begin by noting that the participant typically is not cast as an agent of critique or subversion but rather as one who is invited to accept the parameters of the art project. / David Beech

The critique of participation must release us from the grip of the simple binary logic which opposes participation to exclusion and passivity. If participation entails its own forms of limitations on the participant, then the simple binary needs to be replaced with a constellation of overlapping economies of agency, control, self-determination and power. Within such a constellation participants take their place alongside the viewer, observer, spectator, consumer and the whole panoply of culture’s modes of subjectivity and their social relations. / David Beech

We should be very wary of the current tendency to celebrate a politics of consensus, claiming that is has replaced the supposedly old-fashioned adversarial politics of right and left. A well functioning democracy calls for a clash of legitimate democratic political positions. This is what the confrontation between left and right needs to be about. / Chantal Mouffe

When political frontiers become blurred, disaffection with political parties sets in and one witnesses the growth of other types of collective identities, around nationalist, religious or ethnic forms of identification.

Antagonism can take many forms and it is illusory to believe that they could ever be eradicated. / Chantal Mouffe

The durational commitment to shared time-space is a technique of the social artist, that it is a commitment made whose consequences are unforeseen any – by virtue of an implicit social contract – will redefine the work’s process and structure. Moreover, such an experience of duration is part of a larger gesture of collaboration that is not only an “authorial selfsacrifice” but a more radical experiment in authorial release to the external claims of others, one that might be asking conceptual question about how far the avowal of aesthetic heteronomy can be pursued. / Shannon Jackson

There are antagonisms whitin groups related to power, resources and motives. These need to be openly addressed throughout projects. If people are unhappy, they usually just stop participating. Sometimes I wish people were more pissed off but what I find more often than not is a kind of joy in collective work and a kind of liberation in speaking about social tensions. The next step, of moving this collective analysis into some form of action, is often harder.

/ Janna Graham

This is, in my view, the effective way to challenge power relations, not on the mode of an abstract negation but in a properly hegemonic way, through a process of disarticulation of existing practices and creation of new discourses and institutions. / Chantal Mouffe

The na誰ve advocates of inclusion, incorporation and participation believe that the problem is how to include more people, not whether to do so. / David Beech

WED 22ND MAY 6:00 - 9:00 PM GASWORKS / LONDON

What does ‘community’ mean? ‘I think community is a kind of glue. Sometimes sticky, smelly, useless, but when it does the job...’ / member of Gasworks peer group

In the alternative view, ‘social’ is not some glue that could fix everything including what the other glues cannot fix; it is what is glued together by many other types of connectors. / Bruno Latour

What does ‘community’ mean? ‘One aspect of community is the shared experience of place. It means working together with friends and strangers to improve the surroundings (whichever form they might take) and hence the quality of life together.’ / member of Gasworks peer group

Describing socially engaged works either according to their emancipatory potential or as forms defined by groups of people coming together does little to elucidate the complex forces behind the act of congregating. / Rana and Marcellini

The relationship with people is at the center of this type of cultural practice. / Pascal Gielen

Despite widespread contention over its origins, there is a growing consensus that the artistic field of social practice is defined by a focus on working with human subjects. / Marcellini and Rana

Our approach is to apply a non-anthropocentric perspective to social practice in order to move conceptions of the social beyond humans as the only actors and towards inclusion of objects, things, words, memories, dreams, and forces—basically all of the things that make up our social world. / Rana and Marcellini

Why are some activities said to have a ‘social dimension’? / Bruno Latour

Community art becomes a cheaper from of social work, especially as it is usually offered on a project basis, whereas social services, including local schools and hospitals, call for a more serious, structural investment.

It is very doubtful whether one can effectively tackle serious issue, such as social deprivation and disintegration, with temporary projects and similarly temporary responsibilities. / Pascal Gielen

Paul De Bruyne argues that community-based art is ‘first and foremost, a social concept, not an artistic one’ and that the work done by art organisations in these programmes simply represents another arm of the welfare state. / Katie Orr

Problems arise, however, when ‘social’ begins to mean a type of material, as if the adjective was roughly comparable to other terms like ‘wooden’, ‘steely’, ‘biological’, ‘economical’, ‘mental’, ‘organizational’, or ‘linguistic’. At that point the meaning of the word breaks down since it now designates two entirely different things: first, a movement during a process of assembling; and second, a specific type of ingredient that is supposed to differ from other materials. / Bruno Latour

They believed the social to be made essentially of social ties, whereas associations are made of ties which are themselves non-social. They imagined that sociology is limited to a specific domain, whereas sociologists should travel wherever new heterogeneous associations are made. They believed the social to be always already there at their disposal, whereas the social is not a type of thing either visible or to be postulated. It is visible only by the traces it leaves (under trials) when a new association is being produced be- tween elements which themselves are in no way ‘social’. / Bruno Latour

If the constitution of the social is so contentious—and in Latour’s view, misunderstood—within the field of sociology, why hasn’t this problem been adequately addressed within the arts? / Rana and Marcellini

In our investigations into social practice, one thing has become clear to us: its discourses are organized around a binary opposition, which we choose to call the subject/object pole. The effect of this opposition has been to relegate art to one of two sites: the social world or the non-social world. / Rana and Marcellini

This subject/object polarity also suggests a culture/nature division, a dominant philosophical understanding of the world employed since Kant, which serves to restrict knowledge to what is constructed by human subjects. / Rana and Marcellini

How can we think of the poles of social and non-social together, rather than uphold divisions that, on the one hand, arbitrarily valorize certain forms and, on the other, undermine our ability to trace the relations that produce them? How can we have a more complex social practice that accounts for multiple forces and agencies, ones that are not transparent or even fully accessible? / Rana and Marcellini

By suggesting that humans are the only beings endowed with agency and are capable of effecting meaningful change in the world, this approach privileges subjects rather than objects while excluding non-human actors such as art objects from the arena of the social. To exclusively reduce the social realm to the ways that humans interact with each other, as many social art practitioners tend to do, is to willfully ignore the role that objects—considered here not only in the sense of material things but broadly conceived as any entity with agency, all the way from quarks to concepts, commodities, and crustaceans—play in organizing the forms, affects, and gestures of intersubjective exchange in the first place. / Rana and Marcellini

To move beyond community art presupposes, first of all, an art of communities, in which artistic reflection is not at the service of the evident questions posed by the mass media and neo-liberalism, in which the aesthetic does not serve to slavishly patch up the holes a blind capitalism leaves behind. The art of community knows how to occupy these holes in a meaningful way and to tactically manage them by constantly generating ways of escape. In short, community art only makes sense when it refuses to be used as an instrument of an uniform, homogenizing, calculating logic, and when it produces the most divergent communities through the confrontation of many singular and dissonant forms of imaginative power. / Pascal Gielen

‌these new communities operate as neo-liberal groups in an alter-modern network world. The latter group implies, amongst other things, that it does not stick to its own identity, but it’s continuously transforming and having it transformed through new meetings. / Pascal Gielen

TUE 28TH MAY 6:00 - 9:00 PM THE SHOWROOM / LONDON

A place (lieu) is the order (of whatever kind) in accord with which elements are distributed in relationships of coexistence. (‌) A space exists when one takes into consideration vectors of direction, velocities, and time variables. Thus space is composed of intersections of mobile elements. It is in a sense actuated by the ensemble of movements deployed within it. / Michel De Certeau

In short, space is a practised place. Thus the street geometrically defined by urban planning is transformed into a space by walkers. In the same way, an act of reading is the space produced by the practice of a particular place: a written text, i.e. a place constituted by a system of signs. / Michel De Certeau

Farrells had compiled a detailed spatial analysis of the area (…) which highlighted how the built environment has affected the problems that the neighbourhood is currently facing. They concluded that the way in which it has been cut off from other areas by major transport routes (including railway lines, canals, flyovers) has resulted in fragmentation and isolation which in turn has had knock-on effects on the area’s economy and social deprivation.

To us these physical boundaries of railways, roads and canals demarcated a clear geographical area for us to concentrate our work within, as well as clarifying the needs of our community. Farrells’ research and other statistical data and informal knowledge imparted to us by the CSNM, and their staff – who include a ‘walker talker’ whose job it is to walk around the area talking to people – gave The Showroom a substantial grasp on and access to the local infrastructure, giving us insight into who is here, and the problems that are being faced. / Emely Pethick / Louise Shelley / Emma Smith

Participatory projects in the social field therefore seem to operate with a twofold gesture of opposition and amelioration. They work against dominant market imperatives by diffusing single authorship into collaborative activities that, in the words of Kester, transcend ‘the snares of negation and self-interest’.

Instead of supplying the market with commodities, participatory art is perceived to channel art’s symbolic capital towards constructive social change. Given these avowed politics, and the commitment that mobilises this work, it is tempting to suggest that this art arguably forms what avant-garde we have today: artists devising social situations as a dematerialised, anti-market, politically engaged project to carry on the avant-garde call to make art a more vital part of life. But the urgency of this social task has led to a situation in which socially collaborative practices are all perceived to be equally important artistic gestures of resistance: there can be no failed, unsuccessful, unresolved, or boring works of participatory art, because all are equally essential to the task of repairing the social bond. / Claire Bishop

The assumptive world of post-structuralist thought is defined by several key characteristics. Chief among these are a series of tactical inversions directed at the traditions of Western metaphysics and subjectivity.

These include the privileging of dissensus over consensus, rupture and immediacy over continuity and duration, and distance over proximity, intimacy, or integration.

Other significant features include an extreme scepticism about organized political action and a hyper-vigilance regarding the dangers of co-option and compromise entailed by such action, the ethical normalization of desire and somatic or sensual experience, and the receding of political transformation into a form of ontic disruption directed at any coherent system of belief, agency, or identity. / Grant H. Kester

As a result of the fragmenting impact of modernity, the public is now bifurcated between those few who possess sufficient humanity to comprehend and take pleasure in complex art, and the untutored masses, which remain insensitive to it. / Grant H. Kester

Matarasso lays out fifty benefits of socially engaged practice, offering ‘proof’ that it reduces isolation by helping people to make friends, develops community networks and sociability, helps offenders and victims address issues of crime, contributes to people’s employability, encourages people to accept risk positively, and helps transform the image of public bodies. The last of these, perhaps, is the most insidious: social participation is viewed positively because it creates submissive citizens who respect authority and accept the ‘risk’ and responsibility of looking after themselves in the face of diminished public services. / Claire Bishop

To be included and participate in society means to conform to full employment, have a disposable income, and be self-sufficient. / Claire Bishop

The emergence of a creative and mobile sector serves two purposes: it minimises reliance on the welfare state while also relieving corporations of the burden of responsibilities for a permanent workforce. As such, New Labour considered it important to develop creativity in schools – not because everyone must be an artist (as Joseph Beuys declared), but because the population is increasingly required to assume the individualisation associated with creativity: to be entrepreneurial, embrace risk, look after their own self-interest, perform their own brands, and be willing to self-exploit. / Claire Bishop

Gibson-Graham have worked with feminist models to develop ideas of ‘community-based economies’. They see feminist politics as ‘grounded in persons,’ (i.e. highly localised) but also ubiquitous (in the simultaneous presence of actors and forces in multiple spaces, establishing networks), a form of feminism, they go on to say, offers a model for local transformation that does not require transformation at larger scales. / Emely Pethick / Louise Shelley / Emma Smith

To go back to Gibson-Graham once more, they quote from Hannah Arendt that we need to foster ‘a love of the world’…‘rather than masterful knowing, or melancholy or moralistic detachment.’ To do this they write that ‘we need to draw on the pleasures of friendliness, trust, conviviality, and companionable connection.’ / Emely Pethick / Louise Shelley / Emma Smith

Exploring issues of boundaries, communities, transformation, and partnership, Altay proposed the term ‘partnership’ as an alternative to ‘community’, as a way of thinking beyond the idea of a homogenous or fixed community of the settled, to a more mobile and complex social network of people who come into contact in a particular place. / Emely Pethick / Louise Shelley / Emma Smith

A distinction between strategies and tactics appears to provide a more adequate initial schema. I call a strategy a calculation (or manipulation) of power relationships that becomes possible as soon as a subject with will and power (a business, an army, a city, a scientific institution) can be isolated. It postulates a place that can be delimited as its own and serve as the base from which relations with an exteriority composed of targets or threats (customers or competitors, enemies, the country surrounding the city, objectives and objects or research, etc.) can be managed. As in management, every “strategic” rationalization seeks first of all to distinguish its “own” place, that is, the place of its own power and will, from an “environment”. / Michel De Certeau

A tactic is a calculated action determined by the absence of a proper locus. No delimitation of an exteriority, then, provides it with the condition necessary for autonomy.

The space of tactic is the space of the other. Thus it must play on and with a terrain imposed on it and organized by the law of a foreign power. (…) It operates in isolated actions, blow by blow. It takes advantage of “opportunities” and depends on them (…) In short, a tactic is an art of the weak. / Michel De Certeau

WED 29TH MAY 6:00 - 9:00 PM THE SHOWROOM / LONDON

The Edgware Road has always been a place of movement. (...) There is an archeology of coming and going to and from this place that would be impossible to account for in any study. But with this history of movement comes also a history of non-movement, fears of such mobility and change. / Janna Graham

... to begin each project with the question: What is possible? / Janna Graham

One the Edgware Road, one learns very quickly that any study of place must remain porous, making something of the experiential comings and goings that exceed local, regional and national borders. / Janna Graham

I am interested in immersing myself in a specific situation and stimulating a set of interactions between the people involved. In order to start to work on a certain location, I create what I call a “field of interactions.” I pose a set of questions that circumscribe particular problematics or tensions, and when this field is defined, I step inside! (…) how to be completely inserted within a collectivity. / Jeanne van Heeswijk

Looking at certain areas, questions arise immediately about how these places can become public again. There are questions about publicness, social interaction, and politics that are constantly in my reasoning. What will publicness mean in these areas, and how can these areas be platforms again for meeting, discussion, and conflict? / Jeanne van Heeswijk

Where and how do we most effectively manifest our findings, moving them from an archive to a series of actions? In galleries? In theaters? In courts? In the streets? / Janna Graham

How can the right to research and project of re-search manifest in the narration and presentation of our findings? / Janna Graham

How are the resources of projects distributed between artists and non-artists? / Janna Graham

Is an artist genuinely producing a socially engaged artwork to help people, or is it yet another careerclimbing maneuver? Does public art in a city serve its current residents, or does it operate as an advertisement for future gentrification? / Nato Thompson

Art under New Labour was built up as a “good service�.

What this often meant is that art is a good service for making better workers for the labour market, more docile bodies for the police, residents more willing to move out of an area being gentrified. / Janna Graham

Socially engaged artworks, perversely enough are not just the purview of artists, but in fact, can additionally be deployed by capitalist for the production of their own version of meaning and advertising. It is upon this stage of vast spectacle that we must attempt to create meaningful relationships and actions. / Nato Thompson

There’s always that tension between open-endedness and knowing that at the end of the day you have to deliver tangible results on a number of levels. If there’s no room for productive uncertainty, you just become like a corporation delivering “experience” to people. / Marie-Anne McQuay

But in terms of describing projects and understanding them beyond the trope of “evaluation”, the only way I can think to do it is to make this inherently part of projects right from the beginning. One of the things I’m trying to do, but it’s hard to achieve, is to bring artists into the frame before the funding has been applied for, so that they’re part of that process, so absolutely everything is in there and is part of the “project”. / Marijke Steedman

I don’t believe there is such a thing as an institution.

I think what we call institutions are frictive forces that come up against each other based on conflicting commitments. Out of that we produce organisations, structural and material conditions, complicities and projects. / Janna Graham

If the tactical is a temporary, interventionist form of trespass, the strategic is the long-term investment in space. (…) Thus, the strategic turn where we find works that are explicitly local, long-term, and communitybased. (…) As with many longterm efforts, the longer the project, the more the artist or artists must behave like organizational structures in order to operate efficiently, and combat fatigue and overextension. / Nato Thompson

I must say that I don’t see very much of a distinction between working inside or outside the museum framework. Sometimes a project is commissioned and I am interested in the question framed by the commissioner. I rarely stick to that question—I think of it as one of the questions that might be part of the framework, and then I extend, rework, rethink, or counterbalance the question. (…) I even think that sometimes it is good to bring reflections on certain projects back to the institutional context. It’s always hard, but I definitely try to avoid displaying documentation as an art piece. / Jeanne van Heeswijk

(‌) documentation should be regarded as an inextricable component of an action, one which ideally, becomes a quotidian and evolving component of the event, not an element of postproduction but a coproduction of viewers, interpreters, and narrators.

Multiple witness accounts, different modes of documentation, and, most importantly, a public record of the evolution of the project in real time are ways to present an event in its multiple angles and allow for multiple interpretations. / Pablo Helguera

For, as art enters life, the question that will motivate people far more than What is art? is the much more metaphysically relevant and pressing What is life?

Those among us who, thanks to their resourcefulness and skills, feel like a fish in the water in that world may not note that the yawning gap stretching between the expectations the ideology of privatization aims to arouse in all individual-by-decree, and the realistic chances of scores of men and women who lack the resources and the skills without which the rise of individuals-dejure to the status of individuals-de-facto is unthinkable. This ideology, like all other ideologies, divides humanity. / Zygmunt Bauman

For the first time, the importance of forms of living seems to be questioned altogether by the conceptualization of living as form. Whatever has a certain form can be measured, described, understood, misunderstood. Forms of living can be criticized, disintegrated, assembled. / Nato Thompson

We may observe, however, that the socialization itself, contrary to opinions universally held not so long ago and still frequently expressed, is not a one directional process, but a complex and unstable product of an ongoing interplay between the yarning for individual freedom of self-creation and an equally strong desire for security which only the stamp of social approval, countersigned by a community (or communities) of reference, can offer. The tension between the two is seldom placated for long, and hardly ever vanished altogether. / Zygmunt Bauman

Integrating community is essentially a conservative force. It is at home in a strictly administered, tightly supervised and policed setting - hardly in the liquid modern world with its cult of speed and acceleration, novelty and change just (or mostly) for the sake of changing. / Zygmunt Bauman

I am interested in processes of change. Through interactions, confrontation, and, eventually, conflict, ultimately a movement starts happening. And if a movement starts happening, change starts happening. / Jeanne van Heeswijk

When I insert myself in these processes of “experts on location,� I insert myself as an amateur. At the moment I am extremely interested in this notion of the amateur in a field of experts. I am not directing, and being an amateur means being completely open as much as you can, being submissive to anything you can learn, and being reactive to anything a person wants to bestow upon you and wants to teach, even with things that you think are unnecessary to learn. / Jeanne van Heeswijk

You have to let go within your subjectivity, and that is something that as an artist I try to practice all the time.

When we all attempt to lose our subjectivity, it is, at least partly, the precondition for generating something between us that is actually an agent of change. / Jeanne van Heeswijk

To me, art is the production of social change. And that occasionally can also result in art pieces, books, discussions, a festival, and many other things.

Differently from politics, art has a specific framework derived from aesthetics, from the imaginary, and in that it elevates ideas into imagination and its relation to ethics. That is a whole field that comes with it, and it is a whole different one from the one of politics, or of city planning, if you will. All works derive from a continuous interest in the world and from seeing art as a very important part of that world. In that sense, I always say that I am a believer. I do believe that art is an important catalyst for social change. / Jeanne van Heeswijk

TUE 21ST MAY 2013 6:00 - 9:00 PM. GASWORKS. LONDON Steedman M. 2012. Pethick E., Shelley L., Smith E.‘Ideas that have shaped the terrain’ in Gallery as Community: Art, Education, Politics. London: Whitechapel Gallery, pp. 43-62 Beech D. 2008. ‘Include Me Out! On Participation in Art’ in Art Monthly, 315, pp. 1-4 Jackson S. 2011. Social Works: performing art, supporting pubblics.

New York: Routledge, chapter 2, pp. 43-74 Mouffe C. 2005. ‘Politics and the political’ in On the political. New York: Routledge. pp. 8-34

WED 22ND MAY 6:00 - 9:00 PM. GASWORKS. LONDON Orr K. 2011, Even better together: Gasworks and ‘Community’ in Engage nr.28, London, pp. 93-103 Marcellini A. & Rana D. 2012. ‘Towards a non- anthropocentric social practice’ in Paletten Art Journal, pp. 286-287 Gielen P. 2011. ‘ Mapping Community Art’ in Community Art, The Politics of Trespassing, Amsterdam: Valiz, pp. 15-33 Latour B. 2005. “Introduction : How to Resume the Task of tracing Associations”, in Reassembling The Social: An Introduction to Actor-Network- Theory. Oxford: Oxford University Press, pp. 1-9

TUE 28TH MAY 6:00 - 9:00 PM. THE SHOWROOM. LONDON Pethick E., Shelley l., Smith E. 2011, ‘Communal Knowledge’ in Engage nr.28, London, pp. 9- 19 Kester G. H. 2011. ‘ Autonomy, Antagnomism, and The Aestethics’ in The one and the many: contemporary collaborative art in global context. Durham: Duke University Press, pp. 19-65 Bishop C. 2012. Social Turn in Artificial hells: participatory art and the politics of spectatorship. Brooklyn: Verso Books, pp. 11-40 De Certeau M. 1984. ‘ Strategies and Tactics’ and ‘Spaces and Places’ in The Practice of Everyday Life. Berkerley: University of California Press, pg. 34-39 and pp. 117-118

WED 29TH MAY 6:00 - 9:00 PM. THE SHOWROOM. LONDON Graham J. 2012. ‘What is possible study?’ in On the Edgware Road.

London: Serpentine Gallery, pp 21-25 Steedman M., 2012. Graham J., McQuay M.A., Vicars N.‘Inherent Tensions’ in Gallery as Community: Art, Education, Politics. London: Whitechapel Gallery, pp. 197-219 Thompson, N. 2011. ‘Living As Form’ in Living as Form: Socially Engaged Art from 1991- 2011. New York: Creative Time. Cambridge, Massachusetts: The MIT Press, pp. 16-33

Helguera, P. 2011. ‘Documentation’ in Education for Socially Engaged Art. New York: Jorge Pinto, pp. 73-76 Gandolfi E. 2010. ‘A dialogue between the author and Jeanne Van Heeswijk’ in Visible: Where Art Leaves Its Own Field and Becomes Visible as Part of Something Else. Sternberg Press, pp.133-139

design: Matthias Pötz

Bauman Z. 2008. ‘We, the Artists of Life’ in The Art of Life.

Cambridge: Polity Press, pp. 73- 92