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by Claudia Zanfi

In 1968 Al Hansen, one of the leading figures of the Fluxus movement, stated that “in order to meet people, you have to think up new kinds of art like ‘food-art’”. Happenings, Situationism, Performance, right up to the so-called Relationship Art all came into being not far from the Fluxus movement. Numerous examples of these expressive phenomena were to be found in the recent Manifesta and Documenta Biennials in new forms and guises, thus demonstrating the ongoing reactivity of contemporary performance art.

by Pablo Leon de la Barra

Art should not only be about creating aesthetic objects referring only to themselves or to the history of art, but about how groups or individuals can give visibility to that which affects them in order to help us better understand and transform our world. Still, when reality has such a presence it is not enough to document or give visibility to the forces of social, political and economical inequality and injustice. If there is any role to be played by art as a social mediator it consists on how to articulate and engage with the other members of society.

by Martí Peran

These notes are nothing more than some preliminary remarks aiming at approaching a series of complex problems that, from our point of view, need to be recognized within the new, fashionable, artistic practices, which are dedicated to the exploration of their public dimension through the direct contact with local communities, and they operate in specific socio-cultural contexts.

by Angela Vettese

(…..) Therefore the artist does not have a theoretic place to stay: he’s forced to be a nomad in concept, condition that underlines and strengthens the chance of life for which Paci, emigrating from Albania, is also a deserter from his country. The relation of loss of the country, actually with his dose of uncertainty towards the new rules to follow by heart and respect, is analogue in everyday life like in the conception of art.
In a notorious video one of the two daughters of the artist sings an Albanian songs.

by Claudia Zanfi

For the third international edition of the GOING PUBLIC project, the main theme under discussion is that of the New Europe, as seen through the flow of peoples, economies and cultures from East to West – and vice versa – starting with the theories of De Certeau and Baumann. This multi-level project is based principally on collective urban artistic research, with workshops across the territory held together with local groups (the elderly, students, immigrants etc.) featuring works of art created especially for the event, together with film shows and a public debate on the theme in hand.

by Michelangelo Pistoletto / Filippo Fabbrica

“Starting out from the idea of the sea that bears the name Mediterranean we extend the concept of love Difference to planetary level, broadening our vision to other “Mediterranean Seas” of the world. Each of these gathers historical and contemporary realities of different cultures around its shores which are related to different countriers. The name Mediterranean has a meaning common to all seas surrounded by land, as opposed to oceans and expanses of water without defined perimeters.”
Michelangelo Pistoletto, Progetto Arte – Journal 9, Fondazione Pistoletto Onlus ed, Turin 2005.

by Claudia Zanfi

Contra la hamburguesìa transnacional papa criolla y tamal.
Contra la lògica del misil resistencia civil.
Contra la guerra total no violencia local.

So opens the section dedicated to the project by Raimond Chaves and Gilda Mantilla in the Going Public ’03 book. A large poster held up by demonstrators waving red flags against globalisation and all forms of repression.

by Carlos Basualdo In collaboration with Reinaldo Laddaga

It is perhaps ironic that a discussion of what could possibly be defined as a new culture of the arts should begin with a contemporary incarnation of that old modernist saw, the toilet. Yet, the toilet in question is very different from the one that Marcel Duchamp presented almost a century ago at The Society of Independent Artists.