# data[].attributes.body
https://docs.google.com/presentation/d/1DrCjsFkFC1WJ33hx-zl2NJelHIa4ee0Pk2Gz0eoYz6E/edit?usp=sharing

# data[].attributes.body
https://docs.google.com/presentation/d/1cv2Q6VGn8GSecc4am0NSinMC6DOl7NUujwNCWZEIWBM/edit?usp=sharing

# data[].attributes.body
https://monoskop.org/images/1/16/Thompson_Nato_ed_Living_as_Form_Socially_Engaged_Art_From_1911-2011_2012.pdf

# data[].attributes.body
http://www.artcorelearning.org/studio-habits-of-mind

# data[].attributes.attachment_link.readable_text
Hetland, L., Winner, E., Veenema, S., & Sheridan, K. (2007). Studio Thinking: The real benefits of visual arts education. New York, NY: Teachers College Press.

Hetland, L., Winner, E., Veenema, S., & Sheridan, K. (2013). Studio Thinking 2: The real benefits of visual arts education, 2nd Edition. New York, NY: Teachers College Press.

Hogan, J., Hetland, L., Jacquith, D., & Winner, E. (in press, 2018). Studio thinking for the elementary school. New York, NY: Teachers College Press.

# data[].attributes.attachment_link.description
The Studio Habits of Mind framework was developed through the insightful research of Harvard Project Zero. Researchers and educators Lois Hetland, Ellen Winner, Shirley Veenema, Kimberly Sheridan, Diane Jacquith, and Jill Hogan have published extensive resources for educators since 2007 (see bottom of the page for resources).

# data[].attributes.attachment_link.title
The Oakland Projects (1991-2001) — SUZANNE LACY

# data[].attributes.attachment_link.description
A ten-year series of installations, performances and political activism with youth in Oakland, California.

# data[].attributes.body
https://www.jeremydeller.org/TheBattleOfOrgreave/TheBattleOfOrgreave_Video.php

# data[].attributes.attachment_link.readable_text
The Battle of Orgreave, 2001

"In 1998 I saw an advert for an open commission for Artangel. For years I had had this idea to re-enact this confrontation that I had witnessed as a young person on TV, of striking miners being chased up a hill and pursued through a village. It has since become an iconic image of the 1984 strike - having the quality of a war scene rather than a labour dispute. I received the commission, which I couldn't believe, because I actually didn't think it was possible to do this. After two years' research, the re-enactment finally happened, with about eight-hundred historical re-enactors and two-hundred former miners who had been part of the original conflict. Basically, I was asking the re-enactors to participate in the staging of a battle that occurred within living memory, alongside veterans of the campaign. I've always described it as digging up a corpse and giving it a proper post-mortem, or as a thousand-person crime re-enactment."

# data[].attributes.attachment_link.description
"In 1998 I saw an advert for an open commission for Artangel. For years I had had this idea to re-enact this confrontation that I had witnessed as a young person on TV, of striking miners being chased up a hill and pursued through a village.

# data[].attributes.body
https://www.onmanorama.com/entertainment/art-and-culture/2022/10/31/who-put-out-the-fire-art-project-biennale-collateral.html

# data[].attributes.attachment_link.readable_text
For a long time, the kitchen space in Indian homes and the people (read women) who spend most of their lives amid its smoke and smells were thought about, only when one felt hungry.

Not anymore. From films to art projects, the kitchen and its dynamics are increasingly winning some solid attention.

And the latest initiative to zoom into our kitchens is titled 'Who put out the fire?' curated by Tanya Abraham.

The writer-curator's experimental public art project, involving six Mattancherry women's kitchens, was held for the past five days and it had artists exploring these spaces and working with these women to create installations for the exhibition 'A Place at the Table; Where is Amma?'

The event, scheduled for December 11, will be held at Devassy Jose and Sons' Warehouse at Mattancherry in Fort Kochi.

The participating artists are Babu Eshwar Prasad, Justin Ponmany, Lekha Narayanan, Moutushi Chakraborty, Murali Cheeroth, Priti Vadakkath and Sanchayan Ghosh.

Tanya says that her reason to initiate such a project is the aspect that the kitchen, despite being the fulcrum of a home, is not given due importance.

"It's an archive of traditions and customs, and the women working in a kitchen hold power. A family won't function well without the kitchen, will it? But, it's not acknowledged," she says.

From October 25, the artists were working with Mattancherry women, most of them in their forties and belonging to lower middle-class and middle-class sections, to understand their connection with the space.

Tanya says, "For many of these women, there is no other reality. It's been what their mothers and grandmothers have been doing and they are continuing with it."

Ask Kolkata-based artist Moutushi Chakraborty how was it to be part of the project, and she narrates her experience, "I worked with a homemaker named Manju, a silent, gentle soul who was also a mother, just like me. We interacted quite a bit and during one of our chats, I happened to ask her what she liked the best to eat as a child, and she said, sweets. And that gave me the idea to create a sugar sculpture of a tongue, and I gave it green colour as she hails from a Muslim family."

Moutushi's reason to make such a sculpture is Manju's own silent presence in her family, sweetening it, just like sugar does.

"She adds sweetness to her family atmosphere in a non-intrusive manner, that's why I felt this is the right depiction. I also took photos of her palms and made drawings of them on her kitchen wall. She wrote her name and her husband's name also on the palms. It was a way of identifying her space," says Moutushi.

As for artist Sanchayan Ghosh, who worked with a homemaker named Viji Ramesh, he was enamoured by her pink home and her determination to be more than someone who cooks for her family. "

She is also into cooking professionally and dreams of starting her own Youtube channel. It was interesting to see how she balances cooking for the family and others. She also said that she loves cooking, and it was an important starting point for me. She is into a lot of improvisation, which I felt is also quite interesting," says Sanchayan.

Interestingly, when he asked Viji why her home is all pink, along with sharing her love for the colour, she also narrated how her mom's kitchen walls were all smokey black in colour.

"We made a line drawing with LED pink lights in her room, as she prepared crab curry for a handful of people including her family and neighbours at her home. She also spoke about her mother's smoke-filled kitchen," remembers Sanchayan.

The 'A Place At the Table: Where is Amma?' exhibition will have video installations, films, photography work and more, and the artwork produced in the past few days will also be part of the expo, including films revolving around these homemakers. Those who are interested to take part in the project can also upload pictures and videos from their own kitchens, here.

# data[].attributes.attachment_link.title
An art project that echos women's lives in kitchens

# data[].attributes.attachment_link.description
Writer-curator Tanya Abraham's 'Who put out the fire,' an experimental public art project featuring the kitchens of women in Mattancherry, was held.Tany Abraham. Biennale 2022. Babu Eshwar Prasad. Justin Ponmany. Lekha Narayanan. Moutushi Chakraborty. Murali Cheeroth. Priti Vadakkath. Sanchayan Ghosh

# data[].attributes.body
https://vimeo.com/436510628/36dbf2cf5a

# data[].attributes.attachment_link.title
AN INTERMISSION Galleries and Festivals Screener

# data[].attributes.attachment_link.description
An Intermission is an artists' film by Edwin Mingard, made in collaboration with a network of young people experiencing homelessness in Stoke-On-Trent, UK.

# data[].attributes.body
https://monoskop.org/File:Bishop_Claire_Artificial_Hells_Participatory_Art_and_the_Politics_of_Spectatorship_2012.pdf

# data[].attributes.attachment_link.title
File:Bishop Claire Artificial Hells Participatory Art and the Politics of Spectatorship 2012.pdf - Monoskop

# data[].attributes.body
https://www.ucpress.edu/book/9780520275942/conversation-pieces

# data[].attributes.attachment_link.readable_text
Some of the most innovative art of the past decade has been created far outside conventional galleries and museums. In a parking garage in Oakland, California; on a pleasure boat on the Lake of Zurich in Switzerland; at a public market in Chiang Mai, Thailand-artists operating at the intersection of art and cultural activism have been developing new forms of collaboration with diverse audiences and communities. Their projects have addressed such issues as political conflict in Northern Ireland, gang violence on Chicago's West Side, and the problems of sex workers in Switzerland. Provocative, accessible, and engaging, this book, one of the first full-length studies on the topic, situates these socially conscious projects historically, relates them to key issues in contemporary art and art theory, and offers a unique critical framework for understanding them.

Grant Kester discusses a disparate network of artists and collectives-including The Art of Change, Helen and Newton Harrison, Littoral, Suzanne Lacy, Stephen Willats, and WochenKlausur-united by a desire to create new forms of understanding through creative dialogue that crosses boundaries of race, religion, and culture. Kester traces the origins of these works in the conceptual art and feminist performance art of the 1960s and 1970s and draws from the writings of Mikhail Bakhtin, Jürgen Habermas, and others as he explores the ways in which these artists corroborate and challenge many of the key principles of avant-garde art and art theory.

Grant H. Kester is Professor of Art History at the University of California, San Diego. He is the author of Art, Activism and Oppositionality: Essays from Afterimage , and The One and the Many: Contemporary Collaborative Art in a Global Context.

List of Illustrations
Acknowledgements
Preface to the 2013 Edition

Introduction
1. The Eyes of the Vulgar
2. Duration, Performativity, and Critique
3. Dialogical Aesthetics
4. A Critical Framework for Dialogical Practice
5. Community and Communicability

Notes
Index

# data[].attributes.attachment_link.description
Some of the most innovative art of the past decade has been created far outside conventional galleries and museums. In a parking garage in Oakland, California; on a pleasure boat on the Lake of Zurich in Switzerland; at a public market in Chiang Mai, Thailand--artists operating at the intersection of art and cultural activism have been developing new forms of collaboration with diverse audiences and communities.

# data[].attributes.body
https://www.youtube.com/watch?v=ViDtnfQ9FHc

# data[].attributes.body
https://www.jstor.org/stable/3178066

# data[].attributes.attachment_link.readable_text
Journal Information

Feminist Studies, first published in 1972, is the oldest continuing scholarly journal in the field of women's studies published in the U.S. Contents of the journal reflect its commitment to publishing an interdisciplinary body of feminist knowledge, in multiple genres (research, criticism, commentaries, creative work), that views the intersection of gender with racial identity, sexual orientation, economic means, geographical location, and physical ability as the touchstone for its intellectual analysis. Whether drawn from the complex past or the shifting present, the work that appears in Feminist Studies addresses social and political issues that intimately and significantly affect women and men in the United States and around the world.

Publisher Information

Founded in 1972, Feminist Studies was the first scholarly journal in women's studies and remains a flagship publication with a record of breaking new ground in the field. Whether drawing from the complex past or the shifting present, the pieces that appear in Feminist Studies raise social and political questions that intimately and significantly affect women and men around the world.

# data[].attributes.attachment_link.title
Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective on JSTOR

# data[].attributes.attachment_link.description
Journal Information Feminist Studies, first published in 1972, is the oldest continuing scholarly journal in the field of women's studies published in the U.S. Contents of the journal reflect its commitment to publishing an interdisciplinary body of feminist knowledge, in multiple genres (research, criticism, commentaries, creative work), that views the intersection of gender with racial identity, sexual orientation, economic means, geographical location, and physical ability as the touchstone for its intellectual analysis.

# data[].attributes.body
https://docs.google.com/presentation/d/12oDC4C-IAOlPCm_5_ZvQ1eXnixs03MIE72mzIBUHVzA/edit?usp=sharing

# data[].attributes.body
https://docs.google.com/presentation/d/1CTtYivmQH6Ye26KEL61zCThesgPEaeutuXB7o7BE89g/edit?usp=sharing

# data[].attributes.headline
Listening Across Disciplines: Sound Arts 2

# data[].attributes.subject
Listening Across Disciplines: Sound Arts 2

# data[].attributes.body
https://www.listeningacrossdisciplines.net/protocols/platform-for-listening-protocols-and-vocabularies/

# data[].attributes.attachment_link.title
Listening Protocols - Listening Across Disciplines

# data[].attributes.attachment_link.description
Working across disciplinary boundaries on the recently emerging focus on sound and listening

# data[].attributes.body
http://www.ultrared.org/uploads/2012-Five_Protocols.pdf

# data[].attributes.body
https://listening-to-ice.org/about

# data[].attributes.attachment_link.description
ABOUT Through a number of site-based activities carried out at Drang Drung Glacier in the Zanskar region of the Himalayas during September-October...

# data[].attributes.body
https://envs.ucsc.edu/internships/internship-readings/freire-pedagogy-of-the-oppressed.pdf

# data[].attributes.body
https://docs.google.com/document/d/1PRiMeKLlhuxeXmxSVA5TICRdOd3j5eGU/edit?usp=sharing&ouid=103632109566561097353&rtpof=true&sd=true

# data[].attributes.body
https://www.kettlesyard.co.uk/learn/open-house-artist-residency/

# data[].attributes.attachment_link.title
Open House Artist Residency – Kettle’s Yard

# data[].attributes.attachment_link.description
One of Britain’s finest galleries – a beautiful and unique house with a distinctive collection of 20th century art, and a gallery exhibiting contemporary and modern art.

# data[].attributes.body
https://www.tate.org.uk/whats-on/herbert-art-gallery-and-museum/turner-prize-2021

# data[].attributes.attachment_link.readable_text
Array Collective

Array Collective is a group of Belfast-based artists who create collaborative actions in response to issues affecting Northern Ireland. Their work encompasses performances, protests, exhibitions and events. The jury commended the way Array Collective fuse seriousness with humour, and address contemporary issues using ancient folk imagery. Recent projects include public artworks in support of the decriminalization of abortion in Northern Ireland, challenging legislative discrimination of the queer community, and participation in the group exhibition Jerwood Collaborate! in London.

Black Obsidian Sound System

Black Obsidian Sound System (B.O.S.S.) is a London-based collective which works across art, sound and radical activism. Formed by and for QTIBPOC (Queer, Trans and Intersex Black and People of Colour), B.O.S.S. challenges the dominant norms of sound-system culture across the African diaspora through club nights, art installations, technical workshops and creative commissions. Recent projects include live events at Somerset House, and a Lux/ICO film commission Collective Hum, documenting the polyphony of collectivity. The jury praised B.O.S.S.'s live performances and their commitment to community, including an online 24-hour fundraising rave, organised in part by members of the collective.

Cooking Sections

Cooking Sections is a London-based duo examining the systems that organise the world through food. Using installation, performance and video, they explore the overlapping boundaries between art, architecture, ecology and geopolitics. The jury applauded the ingenuity of their long-term CLIMAVORE project asking how our diet can respond to the climate emergency. Recent work has included a sound, light and sculpture installation at Tate Britain in 2020 reflecting on salmon farming, as well as an ongoing installation-performance in the Isle of Skye which sees an underwater oyster table turn into a community dining space at low tide.

Gentle/Radical

Gentle/Radical is a project based in Cardiff run by artists, community workers, performers, faith practitioners, writers and others, advocating for art as a tool for social change. They create real and virtual spaces for communities in Wales to engage with culture. The jury admired their deep commitment to the hyper-local community of Riverside in which they are based. Recent activities include Doorstep Revolution, an ongoing project to share neighbourhood stories during lockdown; and the Gentle/Radical Film Club, a pop-up cinema space for diverse communities to engage in dialogues around the urgent issues of our time through independent film.

Project Art Works

Project Art Works is a collective of neurodiverse artists and makers based in Hastings. They explore art through collaborative practice with, for and by neurominorities and disseminate their work through exhibitions, events, films and digital platforms. Recent projects include the film Illuminating the Wilderness 2019, which follows members of the collective with their families and carers exploring a remote Scottish glen. The jury praised their continuing work through the pandemic, both online and in a residency at Hastings Contemporary where passers-by could still encounter work by the collective through the windows of the closed gallery.

# data[].attributes.attachment_link.title
Turner Prize 2021 | Herbert Art Gallery and Museum

# data[].attributes.attachment_link.description
Array Collective Array Collective is a group of Belfast-based artists who create collaborative actions in response to issues affecting Northern Ireland. Their work encompasses performances, protests, exhibitions and events. The jury commended the way Array Collective fuse seriousness with humour, and address contemporary issues using ancient folk imagery.

# data[].attributes.body
https://www.socialartlibrary.org/

# data[].attributes.attachment_link.description
A new collectively-build archive and resource library for Social Practice by Axis. An interactive digital space that holds a permanent collection of custom content created and commissioned by Axis, an archive collection of projects submitted by artists, an artist/librarian-in-residence programme,

# data[].attributes.body
https://docs.google.com/presentation/d/1Pa0pgrHLPJwgoPGEpETQXea-dzWkF4uhRF4Jj8kFzz4/edit?usp=sharing

# data[].attributes.body
https://docs.google.com/document/d/1PBQ8gUCEYkGseKpdG-cvCqVTjxfoddAcfE0Frg2FCcY/edit?usp=sharing

# data[].attributes.body
https://docs.google.com/presentation/d/1GjjLfL_MQH1tZxazQvby9Ot5Sq2KH3mmdrRVc3SZhhI/edit?usp=sharing

# data[].attributes.headline
SUBMIT ALL EXHIBITION TEXTS FOR PRINT - DEADLINE

# data[].attributes.subject
SUBMIT ALL EXHIBITION TEXTS FOR PRINT - DEADLINE

# data[].attributes.body
Submit here: https://docs.google.com/document/d/1B3M_bQBp_hwmNnQMlhp8atRk62H63B3mIsU59BA15R4/edit