1. Queens Museum of Art Arte Útil Lab presents Hypothesis: Access & Replication Mechanisms, Tom Kalin

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    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. May 11, 2013: Access & Replication Mechanisms How are Arte Útil projects made accessible to the intended users? What are the challenges when a project works as a prototype versus when it intends to have a more permanent presence? What are the challenges of passing the project to others or becoming an open source project, and how does that challenge the concept of authorship? How do Arte Útil projects navigate local needs while still becoming a reproducible model? How does Arte Útil maintain its political topography and coherence while changing location and circumstances? • Azra Akšamija • Tom Kalin • Manon Slome Azra Akšamija is a Sarajevo born artist and architectural historian, currently Assistant Professor in the Visual Arts at MIT’s Art, Culture and Technology Program. She holds undergraduate and graduate degrees in architecture from the Technical University Graz, Austria (Dipl.Ing. in 2001) and Princeton University (M.Arch. in 2004), and received her Ph.D. from MIT (History Theory and Criticism of Art and Architecture / Aga Khan Program for Islamic Architecture) in 2011. In her interdisciplinary practice, Akšamija investigates the potency of art and architecture to facilitate the process of transformative mediation in cultural or political conflicts, and in so doing, provide a framework for researching, analyzing, and intervening in contested socio-political realities. Her artwork takes shape though different types of media, including clothing, video, performance, sculpture and/or new media. Tom Kalin is a New York based filmmaker, known as a prominent figure in the New Queer Cinema. Kalin’s award winning, critically acclaimed work traverses diverse forms and genres, from experimental video installations to narrative feature films. Based on two notorious 20th century crimes, his features Swoon and Savage Grace explore the tension between documentary fact and dramatic truth. In his short experimental work, Kalin often takes inspiration from literary sources and addresses contemporary issues such as displacement, urban isolation and homophobia. In these works and as a part of the AIDS activist collective Gran Fury, Kalin has done significant work to change the public opinion of AIDS, simultaneously expanding the definition of activist video. From short experimental videos to feature-length narrative films, Tom Kalin’s award winning, critically acclaimed work has been screened throughout the world. His films and videos are in the permanent collection of the Whitney Museum, the Centre Georges Pompidou and MoMA. Manon Slome is a curator and co- Founder of No Longer Empty (NLE), a non-profit organization whose mission is to introduce high caliber art to a wider public by temporarily transforming vacant spaces throughout the city. From 2002 to June 2008 she was the Chief Curator of the Chelsea Art Museum in New York. During that time, she curated and oversaw a program of some forty exhibitions, symposia and museum publications as well as monographs and scholarly essays. Ms. Slome became highly involved with the Israeli art scene during her research for the exhibition, Such Stuff as Dreams are Made on, (2005) and has followed and researched the Israeli scene for the last three years. Prior to the CAM, Ms. Slome worked as a curator at the Guggenheim Museum for seven years and was a holder of a Helena Rubinstein curatorial fellowship at the Whitney Independent Study program. She has written widely on contemporary art and has recently completed The Aesthetics of Terror published by Charta Press.

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    • Queens Museum of Art Arte Útil Lab presents Hypothesis: Access & Replication Mechanisms, Q&A

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      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. May 11, 2013: Access & Replication Mechanisms How are Arte Útil projects made accessible to the intended users? What are the challenges when a project works as a prototype versus when it intends to have a more permanent presence? What are the challenges of passing the project to others or becoming an open source project, and how does that challenge the concept of authorship? How do Arte Útil projects navigate local needs while still becoming a reproducible model? How does Arte Útil maintain its political topography and coherence while changing location and circumstances? • Azra Akšamija • Tom Kalin • Manon Slome Azra Akšamija is a Sarajevo born artist and architectural historian, currently Assistant Professor in the Visual Arts at MIT’s Art, Culture and Technology Program. She holds undergraduate and graduate degrees in architecture from the Technical University Graz, Austria (Dipl.Ing. in 2001) and Princeton University (M.Arch. in 2004), and received her Ph.D. from MIT (History Theory and Criticism of Art and Architecture / Aga Khan Program for Islamic Architecture) in 2011. In her interdisciplinary practice, Akšamija investigates the potency of art and architecture to facilitate the process of transformative mediation in cultural or political conflicts, and in so doing, provide a framework for researching, analyzing, and intervening in contested socio-political realities. Her artwork takes shape though different types of media, including clothing, video, performance, sculpture and/or new media. Tom Kalin is a New York based filmmaker, known as a prominent figure in the New Queer Cinema. Kalin’s award winning, critically acclaimed work traverses diverse forms and genres, from experimental video installations to narrative feature films. Based on two notorious 20th century crimes, his features Swoon and Savage Grace explore the tension between documentary fact and dramatic truth. In his short experimental work, Kalin often takes inspiration from literary sources and addresses contemporary issues such as displacement, urban isolation and homophobia. In these works and as a part of the AIDS activist collective Gran Fury, Kalin has done significant work to change the public opinion of AIDS, simultaneously expanding the definition of activist video. From short experimental videos to feature-length narrative films, Tom Kalin’s award winning, critically acclaimed work has been screened throughout the world. His films and videos are in the permanent collection of the Whitney Museum, the Centre Georges Pompidou and MoMA. Manon Slome is a curator and co- Founder of No Longer Empty (NLE), a non-profit organization whose mission is to introduce high caliber art to a wider public by temporarily transforming vacant spaces throughout the city. From 2002 to June 2008 she was the Chief Curator of the Chelsea Art Museum in New York. During that time, she curated and oversaw a program of some forty exhibitions, symposia and museum publications as well as monographs and scholarly essays. Ms. Slome became highly involved with the Israeli art scene during her research for the exhibition, Such Stuff as Dreams are Made on, (2005) and has followed and researched the Israeli scene for the last three years. Prior to the CAM, Ms. Slome worked as a curator at the Guggenheim Museum for seven years and was a holder of a Helena Rubinstein curatorial fellowship at the Whitney Independent Study program. She has written widely on contemporary art and has recently completed The Aesthetics of Terror published by Charta Press.

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      • Queens Museum of Art Arte Útil Lab presents Hypothesis: Access & Replication Mechanisms, Manon Slome

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        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. May 11, 2013: Access & Replication Mechanisms How are Arte Útil projects made accessible to the intended users? What are the challenges when a project works as a prototype versus when it intends to have a more permanent presence? What are the challenges of passing the project to others or becoming an open source project, and how does that challenge the concept of authorship? How do Arte Útil projects navigate local needs while still becoming a reproducible model? How does Arte Útil maintain its political topography and coherence while changing location and circumstances? • Azra Akšamija • Tom Kalin • Manon Slome Azra Akšamija is a Sarajevo born artist and architectural historian, currently Assistant Professor in the Visual Arts at MIT’s Art, Culture and Technology Program. She holds undergraduate and graduate degrees in architecture from the Technical University Graz, Austria (Dipl.Ing. in 2001) and Princeton University (M.Arch. in 2004), and received her Ph.D. from MIT (History Theory and Criticism of Art and Architecture / Aga Khan Program for Islamic Architecture) in 2011. In her interdisciplinary practice, Akšamija investigates the potency of art and architecture to facilitate the process of transformative mediation in cultural or political conflicts, and in so doing, provide a framework for researching, analyzing, and intervening in contested socio-political realities. Her artwork takes shape though different types of media, including clothing, video, performance, sculpture and/or new media. Tom Kalin is a New York based filmmaker, known as a prominent figure in the New Queer Cinema. Kalin’s award winning, critically acclaimed work traverses diverse forms and genres, from experimental video installations to narrative feature films. Based on two notorious 20th century crimes, his features Swoon and Savage Grace explore the tension between documentary fact and dramatic truth. In his short experimental work, Kalin often takes inspiration from literary sources and addresses contemporary issues such as displacement, urban isolation and homophobia. In these works and as a part of the AIDS activist collective Gran Fury, Kalin has done significant work to change the public opinion of AIDS, simultaneously expanding the definition of activist video. From short experimental videos to feature-length narrative films, Tom Kalin’s award winning, critically acclaimed work has been screened throughout the world. His films and videos are in the permanent collection of the Whitney Museum, the Centre Georges Pompidou and MoMA. Manon Slome is a curator and co- Founder of No Longer Empty (NLE), a non-profit organization whose mission is to introduce high caliber art to a wider public by temporarily transforming vacant spaces throughout the city. From 2002 to June 2008 she was the Chief Curator of the Chelsea Art Museum in New York. During that time, she curated and oversaw a program of some forty exhibitions, symposia and museum publications as well as monographs and scholarly essays. Ms. Slome became highly involved with the Israeli art scene during her research for the exhibition, Such Stuff as Dreams are Made on, (2005) and has followed and researched the Israeli scene for the last three years. Prior to the CAM, Ms. Slome worked as a curator at the Guggenheim Museum for seven years and was a holder of a Helena Rubinstein curatorial fellowship at the Whitney Independent Study program. She has written widely on contemporary art and has recently completed The Aesthetics of Terror published by Charta Press.

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        • Queens Museum of Art Arte Útil Lab presents Hypothesis: Access & Replication Mechanisms, Azra Akšamija

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          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. May 11, 2013: Access & Replication Mechanisms How are Arte Útil projects made accessible to the intended users? What are the challenges when a project works as a prototype versus when it intends to have a more permanent presence? What are the challenges of passing the project to others or becoming an open source project, and how does that challenge the concept of authorship? How do Arte Útil projects navigate local needs while still becoming a reproducible model? How does Arte Útil maintain its political topography and coherence while changing location and circumstances? • Azra Akšamija • Tom Kalin • Manon Slome Azra Akšamija is a Sarajevo born artist and architectural historian, currently Assistant Professor in the Visual Arts at MIT’s Art, Culture and Technology Program. She holds undergraduate and graduate degrees in architecture from the Technical University Graz, Austria (Dipl.Ing. in 2001) and Princeton University (M.Arch. in 2004), and received her Ph.D. from MIT (History Theory and Criticism of Art and Architecture / Aga Khan Program for Islamic Architecture) in 2011. In her interdisciplinary practice, Akšamija investigates the potency of art and architecture to facilitate the process of transformative mediation in cultural or political conflicts, and in so doing, provide a framework for researching, analyzing, and intervening in contested socio-political realities. Her artwork takes shape though different types of media, including clothing, video, performance, sculpture and/or new media. Tom Kalin is a New York based filmmaker, known as a prominent figure in the New Queer Cinema. Kalin’s award winning, critically acclaimed work traverses diverse forms and genres, from experimental video installations to narrative feature films. Based on two notorious 20th century crimes, his features Swoon and Savage Grace explore the tension between documentary fact and dramatic truth. In his short experimental work, Kalin often takes inspiration from literary sources and addresses contemporary issues such as displacement, urban isolation and homophobia. In these works and as a part of the AIDS activist collective Gran Fury, Kalin has done significant work to change the public opinion of AIDS, simultaneously expanding the definition of activist video. From short experimental videos to feature-length narrative films, Tom Kalin’s award winning, critically acclaimed work has been screened throughout the world. His films and videos are in the permanent collection of the Whitney Museum, the Centre Georges Pompidou and MoMA. Manon Slome is a curator and co- Founder of No Longer Empty (NLE), a non-profit organization whose mission is to introduce high caliber art to a wider public by temporarily transforming vacant spaces throughout the city. From 2002 to June 2008 she was the Chief Curator of the Chelsea Art Museum in New York. During that time, she curated and oversaw a program of some forty exhibitions, symposia and museum publications as well as monographs and scholarly essays. Ms. Slome became highly involved with the Israeli art scene during her research for the exhibition, Such Stuff as Dreams are Made on, (2005) and has followed and researched the Israeli scene for the last three years. Prior to the CAM, Ms. Slome worked as a curator at the Guggenheim Museum for seven years and was a holder of a Helena Rubinstein curatorial fellowship at the Whitney Independent Study program. She has written widely on contemporary art and has recently completed The Aesthetics of Terror published by Charta Press.

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          • Queens Museum of Art Arte Útil Lab presents Hypothesis: Aest-ethics: Social Aesthetics in Arte Útil, Tom Finkelpearl

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            50 Plays / / 0 Comments

            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. May 11, 2013: Aest-ethics: Social Aesthetics in Arte Útil If Arte Útil takes transformation as its aesthetic principle, how do we develop a language that enables us to comment upon the changing values and qualities of these projects? Arte Útil projects necessarily engage non-artist users in the real world, and therefore, run the risk of unintended consequences — artist-initiators are not in full control of who uses the tools or to what end they are used, so how are they to be accountable? Who benefits the most from engaging in the project itself: the artist, institutional partner, or the users? Furthermore, how does one evaluate the ethics of Arte Útil projects that employ legal loopholes, unsanctioned gestures, or even illegal acts in achieving a social good? • Tom Finkelpearl • Carin Kuoni • Núria Güell Since 2002, Tom Finkelpearl has served as the Executive Director of the Queens Museum of Art, which operates as a cultural crossroads in America’s most diverse county through art programs, community organizing, and educational outreach. Finkelpearl was previously Deputy Director at P.S.1 Contemporary Art Center during its merger with the Museum of Modern Art, and has also worked as the Director of New York City’s Percent for Art Program and as the Executive Director of The Skowhegan School of Painting and Sculpture in Maine. Finkelpearl’s book Dialogues in Public Art (MIT Press) was published in 2000 and What We Made: Conversations on Art and Social Cooperation (Duke University Press) in 2012. Finkelpearl received a BA from Princeton University and an MFA from Hunter College, CUNY. With a strict positioning oriented to create mechanisms for dissent, Núria Güell’s work reformulates the limits of legality. Abuse of power by institutions is detected through a study of established legality. Her projects develop as disruptive tactics in specific contexts, which engage and collaborate with agents and institutions, creating multidisciplinary networks. A graduate in Arts from the University of Barcelona (Spain), she continued her studies at Arte de Conducta in Havana (Cuba) under the direction of Tania Bruguera. Her work has been exhibited at the biennial of Havana, Pontevedra, Ljubljana and Liverpool, as well as in the Triennial of Tallinn, in museums of Barcelona, The Hague, London, Paris, New York, Chicago, Miami, Formigine, Stockholm, Madrid, Hertogenbosch, Istanbul, Leipzig, Bucharest, Zagreb, Cali and in self-managed social centres. Carin Kuoni is Director and Curator of the Vera List Center for Art and Politics at The New School. Under her directorship, the Vera Center for Art and Politics has developed into an internationally recognized public think tank and research lab on the role of the arts in fostering new modes of civic engagement. Kuoni curates a dynamic program of interdisciplinary public lectures, conferences, performances, and panel discussions focusing on themes of political urgency and broad resonance. An art historian by education and a curator and critic by practice, Kuoni was previously director of exhibitions at Independent Curators International (ICI) and director of the Swiss Institute New York. She has curated many international exhibitions, among them The Puppet Show (2008–2009, with Ingrid Schaffner). Kuoni is also a founding member of the artists’ collective REPOhistory.

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            • Queens Museum of Art Arte Útil Lab presents Hypothesis: Aest-ethics: Social Aesthetics in Arte Útil, Núria Güell

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              144 Plays / / 0 Comments

              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. May 11, 2013: Aest-ethics: Social Aesthetics in Arte Útil If Arte Útil takes transformation as its aesthetic principle, how do we develop a language that enables us to comment upon the changing values and qualities of these projects? Arte Útil projects necessarily engage non-artist users in the real world, and therefore, run the risk of unintended consequences — artist-initiators are not in full control of who uses the tools or to what end they are used, so how are they to be accountable? Who benefits the most from engaging in the project itself: the artist, institutional partner, or the users? Furthermore, how does one evaluate the ethics of Arte Útil projects that employ legal loopholes, unsanctioned gestures, or even illegal acts in achieving a social good? • Tom Finkelpearl • Carin Kuoni • Núria Güell Since 2002, Tom Finkelpearl has served as the Executive Director of the Queens Museum of Art, which operates as a cultural crossroads in America’s most diverse county through art programs, community organizing, and educational outreach. Finkelpearl was previously Deputy Director at P.S.1 Contemporary Art Center during its merger with the Museum of Modern Art, and has also worked as the Director of New York City’s Percent for Art Program and as the Executive Director of The Skowhegan School of Painting and Sculpture in Maine. Finkelpearl’s book Dialogues in Public Art (MIT Press) was published in 2000 and What We Made: Conversations on Art and Social Cooperation (Duke University Press) in 2012. Finkelpearl received a BA from Princeton University and an MFA from Hunter College, CUNY. With a strict positioning oriented to create mechanisms for dissent, Núria Güell’s work reformulates the limits of legality. Abuse of power by institutions is detected through a study of established legality. Her projects develop as disruptive tactics in specific contexts, which engage and collaborate with agents and institutions, creating multidisciplinary networks. A graduate in Arts from the University of Barcelona (Spain), she continued her studies at Arte de Conducta in Havana (Cuba) under the direction of Tania Bruguera. Her work has been exhibited at the biennial of Havana, Pontevedra, Ljubljana and Liverpool, as well as in the Triennial of Tallinn, in museums of Barcelona, The Hague, London, Paris, New York, Chicago, Miami, Formigine, Stockholm, Madrid, Hertogenbosch, Istanbul, Leipzig, Bucharest, Zagreb, Cali and in self-managed social centres. Carin Kuoni is Director and Curator of the Vera List Center for Art and Politics at The New School. Under her directorship, the Vera Center for Art and Politics has developed into an internationally recognized public think tank and research lab on the role of the arts in fostering new modes of civic engagement. Kuoni curates a dynamic program of interdisciplinary public lectures, conferences, performances, and panel discussions focusing on themes of political urgency and broad resonance. An art historian by education and a curator and critic by practice, Kuoni was previously director of exhibitions at Independent Curators International (ICI) and director of the Swiss Institute New York. She has curated many international exhibitions, among them The Puppet Show (2008–2009, with Ingrid Schaffner). Kuoni is also a founding member of the artists’ collective REPOhistory.

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              • Queens Museum of Art Arte Útil Lab presents Hypothesis: Aest-ethics: Social Aesthetics in Arte Útil, Q&A

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                32 Plays / / 0 Comments

                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. May 11, 2013: Aest-ethics: Social Aesthetics in Arte Útil If Arte Útil takes transformation as its aesthetic principle, how do we develop a language that enables us to comment upon the changing values and qualities of these projects? Arte Útil projects necessarily engage non-artist users in the real world, and therefore, run the risk of unintended consequences — artist-initiators are not in full control of who uses the tools or to what end they are used, so how are they to be accountable? Who benefits the most from engaging in the project itself: the artist, institutional partner, or the users? Furthermore, how does one evaluate the ethics of Arte Útil projects that employ legal loopholes, unsanctioned gestures, or even illegal acts in achieving a social good? • Tom Finkelpearl • Carin Kuoni • Núria Güell Since 2002, Tom Finkelpearl has served as the Executive Director of the Queens Museum of Art, which operates as a cultural crossroads in America’s most diverse county through art programs, community organizing, and educational outreach. Finkelpearl was previously Deputy Director at P.S.1 Contemporary Art Center during its merger with the Museum of Modern Art, and has also worked as the Director of New York City’s Percent for Art Program and as the Executive Director of The Skowhegan School of Painting and Sculpture in Maine. Finkelpearl’s book Dialogues in Public Art (MIT Press) was published in 2000 and What We Made: Conversations on Art and Social Cooperation (Duke University Press) in 2012. Finkelpearl received a BA from Princeton University and an MFA from Hunter College, CUNY. With a strict positioning oriented to create mechanisms for dissent, Núria Güell’s work reformulates the limits of legality. Abuse of power by institutions is detected through a study of established legality. Her projects develop as disruptive tactics in specific contexts, which engage and collaborate with agents and institutions, creating multidisciplinary networks. A graduate in Arts from the University of Barcelona (Spain), she continued her studies at Arte de Conducta in Havana (Cuba) under the direction of Tania Bruguera. Her work has been exhibited at the biennial of Havana, Pontevedra, Ljubljana and Liverpool, as well as in the Triennial of Tallinn, in museums of Barcelona, The Hague, London, Paris, New York, Chicago, Miami, Formigine, Stockholm, Madrid, Hertogenbosch, Istanbul, Leipzig, Bucharest, Zagreb, Cali and in self-managed social centres. Carin Kuoni is Director and Curator of the Vera List Center for Art and Politics at The New School. Under her directorship, the Vera Center for Art and Politics has developed into an internationally recognized public think tank and research lab on the role of the arts in fostering new modes of civic engagement. Kuoni curates a dynamic program of interdisciplinary public lectures, conferences, performances, and panel discussions focusing on themes of political urgency and broad resonance. An art historian by education and a curator and critic by practice, Kuoni was previously director of exhibitions at Independent Curators International (ICI) and director of the Swiss Institute New York. She has curated many international exhibitions, among them The Puppet Show (2008–2009, with Ingrid Schaffner). Kuoni is also a founding member of the artists’ collective REPOhistory.

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                • Queens Museum of Art Arte Útil Lab presents Hypothesis: Aest-ethics: Social Aesthetics in Arte Útil, Carin Kuoni

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                  34 Plays / / 0 Comments

                  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. May 11, 2013: Aest-ethics: Social Aesthetics in Arte Útil If Arte Útil takes transformation as its aesthetic principle, how do we develop a language that enables us to comment upon the changing values and qualities of these projects? Arte Útil projects necessarily engage non-artist users in the real world, and therefore, run the risk of unintended consequences — artist-initiators are not in full control of who uses the tools or to what end they are used, so how are they to be accountable? Who benefits the most from engaging in the project itself: the artist, institutional partner, or the users? Furthermore, how does one evaluate the ethics of Arte Útil projects that employ legal loopholes, unsanctioned gestures, or even illegal acts in achieving a social good? • Tom Finkelpearl • Carin Kuoni • Núria Güell Since 2002, Tom Finkelpearl has served as the Executive Director of the Queens Museum of Art, which operates as a cultural crossroads in America’s most diverse county through art programs, community organizing, and educational outreach. Finkelpearl was previously Deputy Director at P.S.1 Contemporary Art Center during its merger with the Museum of Modern Art, and has also worked as the Director of New York City’s Percent for Art Program and as the Executive Director of The Skowhegan School of Painting and Sculpture in Maine. Finkelpearl’s book Dialogues in Public Art (MIT Press) was published in 2000 and What We Made: Conversations on Art and Social Cooperation (Duke University Press) in 2012. Finkelpearl received a BA from Princeton University and an MFA from Hunter College, CUNY. With a strict positioning oriented to create mechanisms for dissent, Núria Güell’s work reformulates the limits of legality. Abuse of power by institutions is detected through a study of established legality. Her projects develop as disruptive tactics in specific contexts, which engage and collaborate with agents and institutions, creating multidisciplinary networks. A graduate in Arts from the University of Barcelona (Spain), she continued her studies at Arte de Conducta in Havana (Cuba) under the direction of Tania Bruguera. Her work has been exhibited at the biennial of Havana, Pontevedra, Ljubljana and Liverpool, as well as in the Triennial of Tallinn, in museums of Barcelona, The Hague, London, Paris, New York, Chicago, Miami, Formigine, Stockholm, Madrid, Hertogenbosch, Istanbul, Leipzig, Bucharest, Zagreb, Cali and in self-managed social centres. Carin Kuoni is Director and Curator of the Vera List Center for Art and Politics at The New School. Under her directorship, the Vera Center for Art and Politics has developed into an internationally recognized public think tank and research lab on the role of the arts in fostering new modes of civic engagement. Kuoni curates a dynamic program of interdisciplinary public lectures, conferences, performances, and panel discussions focusing on themes of political urgency and broad resonance. An art historian by education and a curator and critic by practice, Kuoni was previously director of exhibitions at Independent Curators International (ICI) and director of the Swiss Institute New York. She has curated many international exhibitions, among them The Puppet Show (2008–2009, with Ingrid Schaffner). Kuoni is also a founding member of the artists’ collective REPOhistory.

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