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What are the concerns of people working within art institutions, and how do these concerns relate to institutional ecology, infrastructure, sets of internal and external relations and models of production, presentation, and dissemination and so on?

How do we relate to the material and discursive power structures within which public visibility is produced?

How does it relate to the public realm in general, to the private, the collective, to relations, to change?

What value systems operate before and after something is made public in an art context?

What discourses around value have we internalized that continue to create such a pressure around publicness?

How do we deal with the institutional and economic systems that reinforce and make use of those internalized discourses?

What can we do in public?

What do we want to do in public?

How can we have open conversations about what we want from publicness, for ourselves and each other?

What do we make public? What do we keep private?

What happens on the threshold of the institutions?

How do we bring a demand to the institutions, if this demand is not something the institution can respond to within its own language, framework and procedures?

How do we deal with risk in the cultural context at the moment?

What do we mean by taking a risk?

What is the function of risk-taking?

How do we assess whether we are able to take a risk, and if it is worth it?

When is it necessary?

How do we valorise it and its outcome?

What level of risk of failure do we allow from ourselves and others?

How do we take risks?

Where do we take risks?

How do we respond to a negative outcome?

How do we collectivize risk?

How do we enter institutions dysfunctionally?

What happens when we enter the highly governed context of institutions with multitudes of dysfunctionality, while drawing from it demands that cannot be responded to within the existing system?

How much does a public programme of twelve months cost in labour?

Can we afford it?

What do we consider labour in the context of such a project?

When we develop and produce public events or exhibitions, what are the forces at play that shape what we do and the decisions we make?

How to not internalise and individualise the things that are not working in this system of production? How can we share experiences that are related to the working conditions?

How are we working together in this institutional context?

What are the difficulties?

How do we feel?

What information can we extract from the tensions, moments of connection and exchange, that what moves within us while we are creating this programme?

How much time do we have/need, to artifulate, to find a grammar, a language in public?

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