Linking Tania Bruguera’s Arte Útil (Useful Art), the function of art institutions and cognitive-science, Stéphanie Bertrand proposes a new model of curating in this essay. Exploring curatorial practice in relation to usership and the mediation of art; Bertrand considers epistemic action that pushes the practice beyond traditional forms of passive participation in art.
In this essay, Haizea Barcenilla reflects on time, artist residencies, and the precarity and sustainability of artistic labour. In an art world that demands more of the artist, Barcenilla uses the Ormston House Artist-in-Residence scheme as a case study that explores a feminist approach to working with and ultimately supporting artists.
The text is an edited lecture experiences from working within the artist-run sector as artist and curator from 2012.