Arte Útil makes certain propositions about the goals, methodologies, and values that pertain to it. We assembled particular questions in four key areas to be tested throughout the laboratory. Key figures in artivism and related academic fields were invited to publicly present various positions vis-à-vis these hypothesis areas.

April 6, 2013: Project Ecosystem Management
What are the different expectations of Arte Útil when it works as a proposition, a prototype, or a fully-implemented project? When should a project end, and when and how should an artist-initiator leave? How does one choose, develop, and maintain partnerships across cross-sectors? How do artist-initiators work with or against institutions? How are projects funded and sustained or in need of the creation of alternative economic models, and to what extent is this central to the project’s conception and ideology? How is scale determined and evaluated?

• Kalia Brooks
• Jim Costanzo/Strike Debt
• Marisa Jahn
• Christine Lewis

Kalia Brooks is a New York based independent curator and writer. Brooks is currently an Adjunct Professor in the Department of Photography and Imaging at New York University’s Tisch School of the Arts, a PhD Candidate in Aesthetics and Art Theory with the Institute for Doctoral Studies in the Visual Arts, and the Curatorial Fellow with A Blade of Grass in New York City. She received her M.A. in Curatorial Practice from the California College of the Arts in 2006, and was a Helena Rubinstein Fellow in Critical Studies at the Whitney Independent Study Program 2007/2008.

Jim Costanzo is an artist and educator living in Brooklyn, New York. His artwork includes video, photo, letterset press, performance, and installation. Costanzo has exhibited at Museo Nacional Centro de Arte Reina Sofía, Madrid; Museum of Contemporary Art Chicago; Mediamatic Lab, Amsterdam; and Judson Memorial Church, New Museum, White Box, and the Whitney Biennial, all in New York. He is a founding member of REPOhistory, a study group of artists, scholars, teachers, and writers focused on the relationship of history to contemporary society. He is director of the Aaron Burr Society and teaches at Pratt Institute. As a member of Occupy Wall Street he has worked with Occupy Museums, Student Loans 1T Day, Strike Debt, the Rolling Jubilee and Making Worlds, a forum for the Commons.

Of Chinese and Ecuadorian descent, Marisa Jahn is an artist, writer, and community organizer. Her work has been presented at The White House, IDEO NY, Lincoln Center, the San Francisco Museum of Modern Art, Museum of Modern Art, Walker Art Center, MIT Museum, The Power Plant (Toronto), ICA Philadelphia, New Museum, ISEA/Zero 1. She is the editor of three books about culture and politics, a CEC Artslink Fellow, a 2007-9 artist in residence at MIT’s Media Lab, and has been recognized as a leading educator by UNESCO. She was formerly the Director of Development at Street Vendor Project of the Urban Justice Center, the Executive Director of People’s Production House, and co-founder of REV- and its former incarnation in San Francisco called “Pond: art, activism, and ideas” in 2000. Jahn’s work has been reviewed in ArtForum, The Wall Street Journal, Los Angeles Times, The New York Times, Clamor, Punk Planet, Art in America, and Discovery Channel. She is a graduate of UC Berkeley and MIT.

Christine Lewis is a writer, nanny, and a social justice advocate and organizer for Domestic Workers United. She frequently speaks about the working conditions that domestic workers face on a daily basis and shares her political analysis of the role that do.

j vimeo.com/65567270

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