SOCIAL INTENTIONS

13 -15 April 2016

INFORMATION

SOCIAL INTENTIONS

13 -15 April 2016

INFORMATION

CONTENT:

PROGRAMME................................................................1

ABOUT SOCIAL INTENTIONS.....................................2-3

PANELIST’S BIOS........................................................4-6

ACTIVITIES.....................................................................7

PARTNERS.....................................................................8

PUBLIC ENGAGEMENT PROGRAMME STRANDS...9-11

ABOUT CCA..................................................................12

BUILDING ACCESS INFO AND MAPS.....................13-14

PROGRAMME:

13 April 2016

10.00 - 10.30: Welcome tea and coffee 10.30 - 13.30: KETSO workshop led by Rebecca Kay 15.30 - 17.00: Panel on Format (chaired by Ainslie Roddick - CCA)Participants: Polly Brannan (Liverpool Biennial), Marcos Garcia (Medialab - Prado),Manuela Villa (Matadero)

14 April 2016

10.00 - 10.30: Intro notes10.30 - 12.00: Panel on Duration (chaired by Harry Weeks - IASH Postdoctoral fellow, University of Edinburgh)Participants: Sanne Oorthuizen and Ying Que (CASCO), Claire Doherty (Situations), Adam Sutherland (Grizedale)12.00 - 13.00: Break* 13.00 - 14.30: Panel on Context (chaired by Lucy Brown - PhD Student, Scottish Oral History Centre, University of Strathclyde)Participants: Louise Shelley (The Showroom), Claudia Zeiske (Deveron Arts), Emily Gee (FACT), Alistair Hudson (mima)15.00 - 16.00: Assembly / plenary discussion

15 April 2016

10.00 - 12.30: BarCamp 12.30 - 17.00: Break17.00 - 20.30: Talk with Andrea Phillips as part of Invisible Knowledge programme

*See map for local cafes1

ABOUT:

Social Intentions is a symposium on the use of social engagement within art institutions.

CCA has invited pioneering institutions in this field from all over Europe to come together and share their practices. Since their socially engaged approach is relevant in the current development of contemporary culture, we will look at the benefits as well as the pitfalls of its uses when related to art institutions.

We shaped the symposium around three main components of socially engaged art practice which have impact and relevance when talking about institutional production: format, time and context.

We will explore different uses of format such us the open source programme, the hub, the laboratory, the art commission based organisation and the Biennale. It will be important to evaluate how these formats can relate to the use of process as well as participation and different ways of facilitating access to creative experiences.

Thanks to the use of social engagement the ‘passive’ audience is turned into active partici-pants and the format is no longer an ‘outcome-focused’ project, but rather is an outcome – an end product – in itself. Therefore the aim is to stimulate a cultural experience based on process rather than on event outcome. This different perception of time and place is experienced as a long-term and context embedded practice.

In the Introduction to her book ‘Participation,’ the scholar and curator Claire Bishop refers to this new approach as the ‘social turn’ in which the emphasis is now placed on temporal processes of engagement with people rather than on art as a product. The use of time then becomes a core part of the use of these practices.

This symposium will refer to time as ‘durational’ in response to Paul O’Neill and Claire Doherty’s definition. They define durational as a series of ‘processes to public art curating and commissioning [which] emerged as an alternative to nomadic, itinerant and short-termist approaches in recent years’. The durational proposed in this symposium is an open process, at some times more loose than at others, often a cyclical time of self-reflexivity without a predesignated end point.

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Finally, we will consider ways in which these institutions engage with context. Often places are presented as fixed entities to which art practitioners are invited to respond with good ideas. Geographer Doreen Massey offered an alternative approachto conceptualising geographical space, as ‘a mutable location’. The concept of space interpreted as a plurality of trajectories which coexist contemporaneously defining the space as a constant work in progress. Being the result of interrelations the space is never static or fixed, never finished. In this sense, space includes a complexity of aspects: history, politics, philosophy, social discourse, representation, community, culture, landscape etc. All of these are relevant to the making and understanding of public art, site-specific and community projects.

The symposium will include workshops and brainstorming sessions as well as panel discussions, talks and presentations. The programme will aim to actively involve the people attending the symposium, the talks and all the activities will have a participatory component. The format of the symposium will be heterogeneous and versatile.

Participants:

With Sanne Oorthuizen and Ying Que (CASCO), Claudia Zeiske (Deveron Arts Centre), Emily Gee (FACT), Adam Sutherland (Grizedale), Polly Brannan (Liverpool Biennial), Manuela Villa (Matadero), Marcos Garcia (Medialab – Prado), Alistair Hudson (mima), Louise Shelley (Showroom), Claire Doherty (Situations), Viviana Checchia (CCA), Ainslie Roddick (CCA), Lucy Brown (PhD Student, Scottish Oral History Centre,University of Strathclyde), Rebecca Kay (Glasgow University) and Harry Weeks (IASH Postdoctoral fellow, University of Edinburgh).

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PANELIST’S BIOS:

Polly Brannan (Liverpool Biennial)

Polly is an artist and educator who has produced projects at Frieze Art Fair, Lisbon Experi-menta Festival and Nottingham Contemporary, amongst others. She was Collaborations Curator at Studio Voltaire from 2006-9, and Education Curator at Serpentine Gallery from 2011-13. She is co-founder of network Avant Gardening, and was a member of the collective public works from 2005-11.

Claire Doherty (Situations)

Claire Doherty is the founder Director of Situations, an arts organisation dedicated to commissioning and producing compelling and imaginative new forms of public art. For over a decade, Situations has been supporting artists to make extraordinary ideas happen in unusual and surprising places, directly engaging in people’s lives and offering alternative ways in which to see, hear and connect to each other. In 2009, Claire was awarded a prestigious Paul Hamlyn Breakthrough Award as an outstanding cultural entrepreneur and in 2012 led Situations to become an independent arts organisation and charity, and from 2015 an Arts Council England National Portfolio organisation. Claire lectures and publishes widely and is Chair of the European Network of Public Art Producers.

Marcos García (Medialab - Prado)

Since 2006, Marcos García has been Head of Content Development and Coordination at Medialab-Prado along with Laura Fernández. Between 2004 and 2006, he was responsible for the educational programme of MediaLabMadrid together with Laura Fernández, within which they developed the cultural mediation programme and the Interactivos? project. He has participated in national and international forums on digital culture, media labs and free culture.

Emily Gee (FACT)

Emily Gee is Communities Manager at FACT, Liverpool. She studied Fine Art at Liverpool School of Art and Design and MA Critical Writing and Curatorial Practice at Chelsea College of Art and Design.

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Alistair Hudson (mima)

For the last decade he was Deputy Director of Grizedale Arts in the Lake District, which gained critical acclaim for its radical approaches to working with artists and communities, based on the idea that art should be useful and not just an object of contemplation. Key projects in this time include Romantic Detachment, PS1/MoMA, New York; Happystacking, China, Instituto Mechanicos, Sao Paulo Bienal, the development of the Coniston Mechanics Institute, Cumbria and Confessions of the Imperfect: 1848 – 1989 – Now at the Van Abbe Museum, Eindhoven. He was educated at Goldsmiths’ College (1988 – 1991) and has previously worked at the Anthony d’Offay Gallery London (1994-2000) and The Government Art Collection (2000-04) where, as Projects Curator, he devised a public art strategy for the new Home Office building with Liam Gillick.

Sanne Oorthuizen (CASCO)

Sanne Oorthuizen is a curator at Casco – Office for Art, Design and Theory in Utrecht since 2012. She acts as artistic research curator for (Un)usual Business, Casco's long-term research project that explores "community economies" and the commons under the motto, "The economy is something we do, not just something that does things to us" [Julie Graham, Imagining and Enacting Noncapitalist Furtures (2001)].

With artist Aimée Zito Lema she has developed the (Un)usual Business School for Cooperation (2013–2014), a series of workshops and gatherings that explore how cooperation can be acquired as a skill and facilitate a means of "being in common." In 2014–2015, Sanne is collaborating with Spain-based artist Fernando García-Dory, who is conducting artistic research into the notion of the rural in the framework of (Un)usual Business.

Andrea Phillips

Dr Andrea Phillips is PARSE Professor of Art and Head of Research at the Valand Academy, Faculty of Fine and Applied Arts. Andrea lectures internationally and writes about the economic and social construction of publics and markets within contemporary art, the manipulation of forms of participation and the potential of forms of political, architectural and social reorganization within artistic and curatorial culture. Previous to her role at Valand, Andrea was Professor of Art and Director of the Art Department Research Programmes at Goldsmiths, University of London.

Louise Shelley (The Show Room)

Louise Shelley is Collaborative Projects Curator at The Showroom where she has coordinated the Communal Knowledge programme since 2010. Communal Knowledge is a series of collaborative projects with local and international artists to propose and activate approaches to critical engagement with The Showroom’s social and cultural surroundings. Communal Knowledge is critically engaged with the possibilities for a gallery education programme to work in ways that respond to artistic practice and different contexts. This is articulated through producing work, events and alliances that address the role of art operating within and responding to themes including pedagogy, work/labour, feminist legacies, precarity, the dialectic of social re/production, and class and gender. She is also a member of the Cinenova Working Group, a non-profit organisation dedicated to distributing films and videos made by women.

Adam Sutherland (Grizedale)

Adam Sutherland director of Grizedale arts, a public art commissioning and residency agency remotely and rurally located on a productive small holding in the Lake District of England. The organisation works as a collective on a very local programme of everyday activities. The organisation also works on international projects in the art world bringing the village community into an exchange that revitalises both the function of art and the role of the artist.

Manuela Villa (Matadero)

Manuela Villa is a cultural producer working as Head of Art Programmes at Matadero Madrid (www.mataderomadrid.org) since 2008, where she has been the co-creator of projects such as Archive of creators (www.archivodecreadores.es), El Ranchito (http://elranchitomadrid.wordpress.com/) or Community and Theory. Programme of Thought of Matadero Madrid (http://blogs.mataderomadrid.org/). She is currently an MRes candidate at the Curatorial / Knowledge programme in Goldsmiths University of London, with a collaborative research on institutional validation techniques as active forms of resistance.

Claudia Zeiske (Deveron Arts)

Claudia Zeiske is a curator and cultural activist who has gained her experience in arts management over many years through working both in the UK and internationally.

Since coming to Scotland in 1995 she has collaborated with many smaller and larger organisations across Scotland including the National Galleries of Scotland/Duff House, the Scottish Sculpture Workshop, Peacock visual arts, and the Royal Scottish Academy. She is co-founder and Director of Deveron Arts and has set up the acclaimed Artists at Glenfiddich programme in rural Speyside. Further she has acted as project agent for some internationallyrenowned artists.

Claudia developed a unique curatorial interest based on a balanced approach between artistic criticality and community involvement through developing projects with artists from across the globe. Today she is concentrating on the development of Deveron Arts as an international residency center where the town is the venue rather than a gallery or arts center. 6

ACTIVITIES

KETSO

We will open the symposium with a session of Ketso workshop run by ProfessorRebecca Kay. This is a public event and it is intended to be an open brainstormingsession which will be later summarized and used as a starting point for the closing workshop in the format of BarCamp.

A Ketso kit provides a set of tabletop materials that can be used to capture and display people's ideas. Participants, in a workshop setting, write their ideas and comments on coloured shapes, and place them on a central, felt workspace. The ‘branches’ on the kit can be used to give themes for participants to think about.

A carefully designed facilitation process enables all participants' views to be expressed and stimulates both individual and group thinking, which is needed for any successful project.

BARCAMP

Instead of the usual closing remarks, the end of the symposium will take the shape of a BarCamp. BarCamp is an open, participatory workshop event, the content of which is provided by the participants themselves. It is an intense event with discussions and interaction between attendees. Unlike the traditional conference format, BarCamps have a self-organising character, relying on the passion and the responsibility of theparticipants.

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PARTNERS:

GRAMNet GRAMNet is a network of researchers and practitioners, NGOs and policy makers working with migrants, refugees and asylum seekers in Scotland. GRAMNet and CCA aim to make knowledge that may be invisible, for whatever reason, more visible and to find creative ways of exploring the interplay between different kinds of knowledge.

GLASGOW SCHOOL OF ART

The GSA is internationally recognised as one of Europe's leading university-level institutions for the visual creative disciplines. Their studio-based approach to research and teaching brings disciplines together to explore problems in new ways to find new innovative solutions. The studio creates the environment for inter-disciplinarity, peer learning, critical enquiry, experimentation and prototyping, helping to address many of the grand challenges confronting society and contemporary business.

Since the School was founded in 1845 as one of the first Government Schools of Design, as a centre of creativity promoting good design for the manufacturing industries, their role has continually evolved and redefined to reflect the needs of the communities they are part of, embracing in the late 19th century fine art and architecture education and today, digital technology. Then as now their purpose remains the same - to contribute to a better world through creative education and research.

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PUBLIC ENGAGEMENT PROGRAMME STRANDS:

ABOUT THE PUBLIC ENGAGEMENT PROGRAMME AT CCA

At the start of 2015, CCA appointed Viviana Checchia to the new role of Public Engagement Curator. The generous support of the Esmee Fairbairn Foundation has enabled her to develop a public engagement programme that aims to extend access to CCA’s programming and has – at its heart – the prospect of social and cultural change explored through art.

Prior to joining CCA, Viviana produced a range of international projects. Most recently, she curated the Young Artist of the Year Award 2014 (YAYA) at the A.M. Qattan Foundation in Ramallah, which took the form of a long-term project that extended beyond the parameters of the exhibition space to include a series of online workshops and panel discussions. This collaborative spirit also informed her work as a curator on the 4th Athens Biennale, which won the 2015 European Cultural Foundation Princess Margriet Award for Culture. This prize is awarded annually to European artists and thinkers whose work shows the potential of culture in creating an inclusive Europe and effecting social change.

Here in Glasgow, she plans to expand CCA’s open source model with a new public engagement programme. This programme proposes a bridge between CCA’s exhibitions and events, and communities that operate in the wider social context of the city. Our public engagement projects will reach beyond CCA’s walls to initiate research groups, community garden activities, food and environmental projects, and urban re-imagination workshops, among other initiatives. Such activities not only draw upon the vibrant culture of our city, but also aim to link art and artists to local movements for social change. Such alliances can contribute immensely to our daily experience of life in Glasgow.

We hope to connect more deeply with our audiences and to expand this community to include members of the public who have not yet experienced CCA. This year’s projects extend an invitation to our audiences to raise questions, share ideas, and experiences. We look forward to this exchange and the new public initiatives that will result from gathering together to share our stories.

Within the realm of art research, CCA has set up a small discussion group focused on ‘socially-engaged artistic and curatorial practice’ in collaboration with The Common Guild and Glasgow Sculpture Studios, and supported by engage Scotland with NationalLottery funding through Creative Scotland. The aim of the group is to explore examples of local and global good practice as well as to challenge the current definitions related to social engagement within the arts.

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BOTANIC CONCRETE

Botanic Concrete is a project set up by CCA that will work with the users and residents of Garnethill. It aims to find out what the community wants from their area and how they feel about local issues. Working creatively and with an alternative approach, it will try to find ways of sharing and developing knowledge of our area.

The plan is to work with all parts of the community - people from all cultures, ages and backgrounds - to create a truly democratic understanding of the needs and desires of the people. This includes families living in the area, the Chinese community, students of GSA and pupils from local nurseries and schools, as well as asylum seekers andrefugees - a vibrant community in transit who are also potential users of Garnethill.

The project will seek to re-empower citizens, giving ownership to the community over their shared environment in a way that could challenge traditional ways of city-planning. In order to do this we will conduct local research, starting with a mapping of the neighbourhood to create an image of peoples’ current needs, wishes and problems. We could discuss things like regeneration, social housing, or the state of local amenities. The residents and users of the area will produce this research, alongside local institutions, organisations and businesses.

After the remapping, a series of workshops for the re-imagination of the area will be organised by the participants, with facilitators working in different fields. We would aim to question and influence traditional city-planning by challenging techniques used by more dominant and centralised institutions.

Our hope is to reconnect to Garnethill and stimulate local organisations, to begin looking again at their position within the neighbourhood. We see Botanic Concrete as an oppor-tunity to use the arts to make a positive contribution to cities of the future, and to facili-tate local populations to envision community ownership and minimise dependency on others.

We believe that this model of supporting urban community development throughcreativity could be beneficial to our local area and also become a template for other communities to use to take ownership of their own civic space.

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Louise Shelley (The Show Room)

Louise Shelley is Collaborative Projects Curator at The Showroom where she has coordinated the Communal Knowledge programme since 2010. Communal Knowledge is a series of collaborative projects with local and international artists to propose and activate approaches to critical engagement with The Showroom’s social and cultural surroundings. Communal Knowledge is critically engaged with the possibilities for a gallery education programme to work in ways that respond to artistic practice and different contexts. This is articulated through producing work, events and alliances that address the role of art operating within and responding to themes including pedagogy, work/labour, feminist legacies, precarity, the dialectic of social re/production, and class and gender. She is also a member of the Cinenova Working Group, a non-profit organisation dedicated to distributing films and videos made by women.

Adam Sutherland (Grizedale)

Adam Sutherland director of Grizedale arts, a public art commissioning and residency agency remotely and rurally located on a productive small holding in the Lake District of England. The organisation works as a collective on a very local programme of everyday activities. The organisation also works on international projects in the art world bringing the village community into an exchange that revitalises both the function of art and the role of the artist.

Manuela Villa (Matadero)

Manuela Villa is a cultural producer working as Head of Art Programmes at Matadero Madrid (www.mataderomadrid.org) since 2008, where she has been the co-creator of projects such as Archive of creators (www.archivodecreadores.es), El Ranchito (http://elranchitomadrid.wordpress.com/) or Community and Theory. Programme of Thought of Matadero Madrid (http://blogs.mataderomadrid.org/). She is currently an MRes candidate at the Curatorial / Knowledge programme in Goldsmiths University of London, with a collaborative research on institutional validation techniques as active forms of resistance.

Claudia Zeiske (Deveron Arts)

Claudia Zeiske is a curator and cultural activist who has gained her experience in arts management over many years through working both in the UK and internationally.

Since coming to Scotland in 1995 she has collaborated with many smaller and larger organisations across Scotland including the National Galleries of Scotland/Duff House, the Scottish Sculpture Workshop, Peacock visual arts, and the Royal Scottish Academy. She is co-founder and Director of Deveron Arts and has set up the acclaimed Artists at Glenfiddich programme in rural Speyside. Further she has acted as project agent for some internationallyrenowned artists.

Claudia developed a unique curatorial interest based on a balanced approach between artistic criticality and community involvement through developing projects with artists from across the globe. Today she is concentrating on the development of Deveron Arts as an international residency center where the town is the venue rather than a gallery or arts center.

COOKING POT

Cooking Pot is a project which is building a community of people who are passionate about food – making, sharing, eating and enjoying. Alongside a programme of events, Cooking Pot is also looking for participants of all ages, talents and backgrounds to share recipes, cookery skills, tricks and tips with others, which will be document in video and text on cca-glasgow.com.

The Cooking Pot programme started with a reflection on the multiculturalism present within Glasgow and its food. By pulling together the culinary knowledge offered by Glaswegian local, permanent and temporary communities we discovered more about the cultures we share here in the city.

Other events have focused on community-based food experiences, issues of food poverty, food-inspired memories and issues of food and sustainability. This programme had many sources of inspiration, including the Garnethill International Cooking Pot recipe book. The book was a collection of recipes contributed by the local community and published in 1976 by CCA’s predecessor The Third Eye Centre and the residents of Garnethill. The book was based in the local community with a strong international input to the recipes.

INVISIBLE KNOWLEDGE

Invisible Knowledge addresses knowledge production within Glasgow, and is supported by Research at The Glasgow School of Art, University of Glasgow and SCAN, with the purpose of using research to inform a public programme of events. The Invisible Knowledge programme of events is managed by CCA with two groups: the research-led Invisible Knowledge meeting group and Glasgow Refugee Asylum and Migration Network (GRAMNet).

The Invisible Knowledge group is an experiment in peer production methodology for artistic research co-ordinated by Viviana Checchia, CCA’s Public Engagement Curator. Co-convened by Emma Balkind and Tiffany Boyle, the group’s purpose is to use their research, individually and collectively, to inform a public programme of events.

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ABOUT CCA:

The Centre for Contemporary Arts is Glasgow’s hub for creative activity. The building is steeped in history and the organisation has played a key role in the cultural life of the city for decades. We are proud to contribute to the vibrancy and vitality of Scotland’s exciting arts scene.

Our year-round programme includes cutting-edge exhibitions, film, music, literature, spoken word, festivals, Gaelic and much more. We have an open-source approach to programming and work with a growing number of partners and individuals to whom we often offer residencies in the building and/or the space to programme their own events. At the heart of all of activities is the desire to work with artists, generate new projects and present them to the widest possible audience.

CCA curates six major exhibitions a year, presenting national and international contemporary artists in our gallery space. We are also home to Intermedia Gallery, showcasing emerging artists. Entrance to exhibitions and many events is free.

Always experimenting, challenging, asking questions and proposing ideas, we have connected new and established artists and communities in Scotland with artists and communities across the world. We are committed to supporting the development of new work and offer a programme of artist residencies, providing studio space andmentoring support for artists.

CCA is home to a number of other cultural and artistic organisations. Cultural Tenants include BHP Comics; Bloody Scotland; Camcorder Guerillas; Cryptic; Electron Club;MAP Magazine; Paragon Ensemble; Playwrights’ Studio Scotland; Scottish Ensemble; Scottish Writers’ Centre; Random Accomplice; The List; Tom McGrath Writers' Room;

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BUILDING ACCESS:

The CCA building comprises three floors and is situated on the corner of Sauchiehall Street and Scott Street. The ground floor includes a foyer with a box office, DutyManagers' office, two shops, Saramago Cafe Bar, gallery, cinema, accessible toilets and lift access to the first and second floors. The first floor has the theatre, Creative Lab, accessible toilets and Terrace Bar. The second floor has Intermedia Gallery and the Clubroom meeting space.

We aim to make the building as accessible as possible but if you feel that you might need some additional help, please get in touch or ask a member of staff on arrival. We're open to feedback and would welcome your ideas on how we can improve in this area. You can contact us by phone on 0141 352 4900, by emailing gen@cca-glasgow.com or by post to CCA, 350 Sauchiehall Street, Glasgow, G3 2JD.

Our Access Statement is available online -www.cca-glasgow.com/about-cca/access-statement. A large print version of this is available at box office. The Access Statement includes information on getting here, our building, cafe bar, shops, facilities and future developments. A floorplan of the venue is also available here - www.cca-glasgow.com/about-cca/cca-venue-map

CAFES AND RESTAURANTS NEARBY:

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