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Donau ",{"_key":1006,"_type":223,"marks":1007,"text":1008},"a37361a9d4751",[225],"Austria",{"_key":1010,"_type":223,"marks":1011,"text":1012},"a37361a9d4752",[]," studied ",{"_key":1014,"_type":223,"marks":1015,"text":1016},"a37361a9d4753",[225],"Technical Mathematics",{"_key":1018,"_type":223,"marks":1019,"text":1020},"a37361a9d4754",[]," at JKU Linz, moved to Zurich at the age of 23, and studied ",{"_key":1022,"_type":223,"marks":1023,"text":1024},"a37361a9d4755",[225],"Fine Arts, Film/Video",{"_key":1026,"_type":223,"marks":1027,"text":1028},"a37361a9d4756",[]," and ",{"_key":1030,"_type":223,"marks":1031,"text":1032},"a37361a9d4757",[225],"Transdisciplinarity",{"_key":1034,"_type":223,"marks":1035,"text":1036},"a37361a9d4758",[]," at the Zurich University of the Arts (ZHdK). After graduating film school in 1997, she worked as a camera assistant and cinematographer for ",{"_key":1038,"_type":223,"marks":1039,"text":1040},"a37361a9d4759",[225],"feature and documentary films",{"_key":1042,"_type":223,"marks":1043,"text":1044},"a37361a9d47510",[],".\n",[],{"_key":1047,"_type":219,"children":1048,"markDefs":1077,"style":232},"c89f66a38190",[1049,1053,1057,1061,1065,1069,1073],{"_key":1050,"_type":223,"marks":1051,"text":1052},"a90b50f7388b0",[],"From ",{"_key":1054,"_type":223,"marks":1055,"text":1056},"a90b50f7388b1",[225],"1998 to 2002",{"_key":1058,"_type":223,"marks":1059,"text":1060},"a90b50f7388b2",[],", she was the ",{"_key":1062,"_type":223,"marks":1063,"text":1064},"a90b50f7388b3",[225],"co-author",{"_key":1066,"_type":223,"marks":1067,"text":1068},"a90b50f7388b4",[]," of the ",{"_key":1070,"_type":223,"marks":1071,"text":1072},"a90b50f7388b5",[225],"trans-media Expo.02 project Cyberhelvetia",{"_key":1074,"_type":223,"marks":1075,"text":1076},"a90b50f7388b6",[],", which, in the pre-Facebook era, presented a virtual Switzerland online in search of “The Identity of the Swiss.” In 2002, it was exhibited as a staged, virtual swimming pool at the Expo in Biel, where participants could dive not into water but into various virtual realities. After developing the story concept, she was also responsible for the project’s visual execution.\n",[],{"_key":1079,"_type":219,"children":1080,"markDefs":1117,"style":232},"89593ce96417",[1081,1085,1089,1093,1097,1101,1105,1109,1113],{"_key":1082,"_type":223,"marks":1083,"text":1084},"68a18c1429900",[],"Following Cyberhelvetia, Susanne Hofer co-founded the ",{"_key":1086,"_type":223,"marks":1087,"text":1088},"68a18c1429901",[225],"video production company flimmern.ch",{"_key":1090,"_type":223,"marks":1091,"text":1092},"68a18c1429902",[]," with Katrin Oettli in 2003 and has since produced her own videos and films as a ",{"_key":1094,"_type":223,"marks":1095,"text":1096},"68a18c1429903",[225],"director, cinematographer and editor",{"_key":1098,"_type":223,"marks":1099,"text":1100},"68a18c1429904",[],". Additionally, in recent years, she has ",{"_key":1102,"_type":223,"marks":1103,"text":1104},"68a18c1429905",[225],"specialised",{"_key":1106,"_type":223,"marks":1107,"text":1108},"68a18c1429906",[]," in visual effects and ",{"_key":1110,"_type":223,"marks":1111,"text":1112},"68a18c1429907",[225],"animations",{"_key":1114,"_type":223,"marks":1115,"text":1116},"68a18c1429908",[],", such as for the experimental documentary Looking Like My Mother by Dominique Margot, where she developed the visual concept and created the animations.",[],{"_key":1119,"_type":219,"children":1120,"markDefs":1148,"style":232},"0e32df0690c1",[1121,1125,1129,1133,1137,1141,1145],{"_key":1122,"_type":223,"marks":1123,"text":1124},"caed8302cd360",[],"With flimmern GmbH, she produces ",{"_key":1126,"_type":223,"marks":1127,"text":1128},"caed8302cd361",[225],"commissioned films for NGOs, corporate image films",{"_key":1130,"_type":223,"marks":1131,"text":1132},"caed8302cd362",[]," (Bodum, Swiss National Library, ETH Zurich, etc.), for international ",{"_key":1134,"_type":223,"marks":1135,"text":1136},"caed8302cd363",[225],"museums and exhibitions, festivals",{"_key":1138,"_type":223,"marks":1139,"text":1140},"caed8302cd364",[],", and location-specific video installations, as well as ",{"_key":1142,"_type":223,"marks":1143,"text":1144},"caed8302cd365",[225],"experimental videos and animations",{"_key":1146,"_type":223,"marks":1147,"text":932},"caed8302cd366",[],[],{"_key":1150,"_type":219,"children":1151,"markDefs":1172,"style":232},"b59c08450003",[1152,1156,1160,1164,1168],{"_key":1153,"_type":223,"marks":1154,"text":1155},"82a1980d36260",[],"Since 2005, she has collaborated regularly ",{"_key":1157,"_type":223,"marks":1158,"text":1159},"82a1980d36261",[225],"theater and dance",{"_key":1161,"_type":223,"marks":1162,"text":1163},"82a1980d36262",[]," directors, producing ",{"_key":1165,"_type":223,"marks":1166,"text":1167},"82a1980d36263",[225],"stage projections and experimental films",{"_key":1169,"_type":223,"marks":1170,"text":1171},"82a1980d36264",[]," for their theater productions.",[],{"_key":1174,"_type":219,"children":1175,"markDefs":1188,"style":232},"2eb04720ebfe",[1176,1180,1184],{"_key":1177,"_type":223,"marks":1178,"text":1179},"b4f4fccd0a980",[],"From 2004 to the present, she has been ",{"_key":1181,"_type":223,"marks":1182,"text":1183},"b4f4fccd0a981",[225],"teaching",{"_key":1185,"_type":223,"marks":1186,"text":1187},"b4f4fccd0a982",[],":",[],{"_key":1190,"_type":219,"children":1191,"markDefs":1228,"style":232},"dea6996d1789",[1192,1196,1200,1204,1208,1212,1216,1220,1224],{"_key":1193,"_type":223,"marks":1194,"text":1195},"0fc906ab14a00",[],"at the Institute of Landscape Architectur at ",{"_key":1197,"_type":223,"marks":1198,"text":1199},"0fc906ab14a01",[225],"ETH Zurich",{"_key":1201,"_type":223,"marks":1202,"text":1203},"0fc906ab14a02",[],", where she taught „Cinematic Perception of Space“ and ",{"_key":1205,"_type":223,"marks":1206,"text":1207},"0fc906ab14a03",[225],"headed the MediaLab",{"_key":1209,"_type":223,"marks":1210,"text":1211},"0fc906ab14a04",[],", subsequently offering continous interdisciplinary courses at ",{"_key":1213,"_type":223,"marks":1214,"text":1215},"0fc906ab14a05",[225],"HSLU",{"_key":1217,"_type":223,"marks":1218,"text":1219},"0fc906ab14a06",[]," (Module IDA), teaching in the Digital Ideation program at the intersection of Computer Science and Art, and at ",{"_key":1221,"_type":223,"marks":1222,"text":1223},"0fc906ab14a07",[225],"ZHdK",{"_key":1225,"_type":223,"marks":1226,"text":1227},"0fc906ab14a08",[]," (Art Education).",[],{"_key":1230,"_type":219,"children":1231,"markDefs":1235,"style":232},"1fd3cbb8622d",[1232],{"_key":1233,"_type":223,"marks":1234,"text":369},"596999faf7550",[],[],{"_key":1237,"_type":219,"children":1238,"markDefs":1274,"style":232},"a1c4bf8345df",[1239,1243,1247,1251,1255,1259,1263,1267,1271],{"_key":1240,"_type":223,"marks":1241,"text":1242},"e18b4b587c500",[],"Since 2013, she has been part of the ",{"_key":1244,"_type":223,"marks":1245,"text":1246},"e18b4b587c501",[225],"collective INTOPOLITIKS",{"_key":1248,"_type":223,"marks":1249,"text":1250},"e18b4b587c502",[]," with Antonia Beamish and Dominique Margot. Together, they are working on a ",{"_key":1252,"_type":223,"marks":1253,"text":1254},"e18b4b587c503",[225],"transmedia project for children",{"_key":1256,"_type":223,"marks":1257,"text":1258},"e18b4b587c504",[],", which was awarded and supported as one of four projects by Swiss Transmedia Projects (BAK, ProHelvetia, Solothurn Film Festival, and Focal). The project continues to run on various channels. The latest endeavour is an immersive theater piece ",{"_key":1260,"_type":223,"marks":1261,"text":1262},"e18b4b587c505",[225],"NOëLAND Cie",{"_key":1264,"_type":223,"marks":1265,"text":1266},"e18b4b587c506",[]," in collaboration with the Fabriktheater Rote Fabrik and a documentary about the vision into the future of our youth. Working Title ",{"_key":1268,"_type":223,"marks":1269,"text":1270},"e18b4b587c507",[225],"Memory into the future",{"_key":1272,"_type":223,"marks":1273,"text":932},"e18b4b587c508",[],[],{"_key":1276,"_type":219,"children":1277,"markDefs":1297,"style":232},"045cfdb1e2c8",[1278,1282,1285,1289,1293],{"_key":1279,"_type":223,"marks":1280,"text":1281},"85a27478f6dc",[],"And in 2024 she teamed up with ",{"_key":1283,"_type":223,"marks":1284,"text":991},"81ec373e6532",[225],{"_key":1286,"_type":223,"marks":1287,"text":1288},"26d18bfcc586",[]," for the Project ",{"_key":1290,"_type":223,"marks":1291,"text":1292},"a6eb7f0e5b22",[225],"A Woman in the World",{"_key":1294,"_type":223,"marks":1295,"text":1296},"9ba30113f298",[],". A participatory transmedia project in the making.",[],"Born 1966 in Linz, Austria; studied Mathematics in Linz and Fine Arts, Film and Transdisciplinarity at ZHdK. Co-founded flimmern.ch with K. Oettli and works as director, cinematographer, editor and animator. And teaches at art schools for 20+ years.",{"alt":7,"asset":1300},{"_id":1301,"height":1302,"orientation":492,"ratio":1303,"url":1304,"width":1305},"image-e6704e1d646596855b17cf95fd9bc22d3fffd082-1480x1852-jpg",1852,0.7991360691144709,"https://cdn.sanity.io/images/eodip22e/production/e6704e1d646596855b17cf95fd9bc22d3fffd082-1480x1852.jpg",1480,{"filterYear":1307},[1308],{"_id":98,"title":102},[1310,1313,1316],{"_type":396,"label":1311,"url":1312},"flimmern","http:/www.flimmern.ch",{"_type":396,"label":1314,"url":1315},"intopolitiks","https://www.intopolitiks.com",{"_type":396,"label":1317,"url":1318},"Working Space Collective","https://www.kontrast.ch",{"locations":1320,"other":1323},[1321],{"_id":408,"_type":409,"seo":7,"slug":1322,"title":412},{"_type":9,"current":411},[1324],{"_key":1325,"_type":219,"children":1326,"markDefs":1331,"style":232},"36d712b7310c",[1327],{"_key":1328,"_type":223,"marks":1329,"text":1330},"0b96a7aa4053",[],"Zurich, Vienna",[],[1333,101],"susanne hofer",{"_type":9,"current":1335},"susanne-hofer","Susanne Hofer",{"alt":1338,"asset":1339},"A Woman in The World AWITW",{"_id":1340,"height":1341,"orientation":492,"ratio":1342,"url":1343,"width":1344},"image-551c33c016c9e09683bd34e4afe138a378f21e01-1115x1711-jpg",1711,0.6516656925774401,"https://cdn.sanity.io/images/eodip22e/production/551c33c016c9e09683bd34e4afe138a378f21e01-1115x1711.jpg",1115,{"filterCategory":1346,"filterLocation":1357,"filterYear":1359},[1347,1348,1349,1350,1351,1352,1353,1354,1355,1356],{"_id":841,"title":846},{"_id":848,"title":853},{"_id":855,"title":860},{"_id":862,"title":867},{"_id":869,"title":874},{"_id":876,"title":881},{"_id":883,"title":888},{"_id":890,"title":895},{"_id":897,"title":902},{"_id":904,"title":909},[1358],{"_id":408,"title":412},[1360],{"_id":98,"title":102},[],{"locations":1363,"other":1366},[1364],{"_id":408,"_type":409,"seo":7,"slug":1365,"title":412},{"_type":9,"current":411},[1367],{"_key":1368,"_type":219,"children":1369,"markDefs":1374,"style":232},"e7dfc6300244",[1370],{"_key":1371,"_type":223,"marks":1372,"text":1373},"363736132b820",[],"Based in Zürich",[],[1376,1392,1400,1407,1423,1431,1438],{"_key":1377,"_type":219,"children":1378,"markDefs":1391,"style":232},"6c15a9d2da19",[1379,1383,1387],{"_key":1380,"_type":223,"marks":1381,"text":1382},"5d1bfdaa1f5f",[],"May 2026 ",{"_key":1384,"_type":223,"marks":1385,"text":1386},"1edc22d779f9",[663],"Denken & Essen",{"_key":1388,"_type":223,"marks":1389,"text":1390},"79ceb46ae51f",[]," event N°6",[],{"_key":1393,"_type":219,"children":1394,"markDefs":1399,"style":232},"3b9409428c48",[1395],{"_key":1396,"_type":223,"marks":1397,"text":1398},"0677254b82a5",[],"on turning points, decisions and social attributions",[],{"_key":1401,"_type":219,"children":1402,"markDefs":1406,"style":232},"dc66c805e0c0",[1403],{"_key":1404,"_type":223,"marks":1405,"text":369},"ff1cedf63e79",[],[],{"_key":1408,"_type":219,"children":1409,"markDefs":1422,"style":232},"e4c4dd558f9c",[1410,1414,1418],{"_key":1411,"_type":223,"marks":1412,"text":1413},"690a87e2b63b",[],"April 2026",{"_key":1415,"_type":223,"marks":1416,"text":1417},"fe82dacea3d4",[663]," Denken & Essen",{"_key":1419,"_type":223,"marks":1420,"text":1421},"2eee222fc91c",[]," event N°5",[],{"_key":1424,"_type":219,"children":1425,"markDefs":1430,"style":232},"4ec38e049f84",[1426],{"_key":1427,"_type":223,"marks":1428,"text":1429},"92b4956ea163",[],"about learning and unlearning what it means to be a woman",[],{"_key":1432,"_type":219,"children":1433,"markDefs":1437,"style":232},"269207fe11ff",[1434],{"_key":1435,"_type":223,"marks":1436,"text":369},"60aac79e45b0",[],[],{"_key":1439,"_type":219,"children":1440,"markDefs":1444,"style":232},"6331ff86d163",[1441],{"_key":1442,"_type":223,"marks":1443,"text":369},"21a5a0de4eb1",[],[],[1446,1450],{"_type":1447,"caption":7,"image":1448},"imageBlock",{"alt":7,"asset":1449},{"_id":1340,"height":1341,"orientation":492,"ratio":1342,"url":1343,"width":1344},{"_type":1451,"settings":1452,"text":1454},"textBlock",{"textColumnCount":1453},"1",[1455,1466,1474,1482,1497,1505,1512,1527,1534,1542],{"_key":1456,"_type":219,"children":1457,"markDefs":1465,"style":232},"0d2e8e25c8eb",[1458,1461],{"_key":1459,"_type":223,"marks":1460,"text":928},"c398da7f652f0",[225,663],{"_key":1462,"_type":223,"marks":1463,"text":1464},"c398da7f652f1",[]," is an artistic practice-based research project. It originated when we noticed common ground in our respective film and art practices: a series of interviews with women about decisions and turning points (Susanne Hofer), and care work combined with research into the multifaceted life of an older woman (Sabine Hagmann).\n",[],{"_key":1467,"_type":219,"children":1468,"markDefs":1473,"style":232},"babb3b299906",[1469],{"_key":1470,"_type":223,"marks":1471,"text":1472},"c4bf34e880dc0",[],"Our shared interest in the expectations of a life as a woman was the starting point for our collaboration. We are now exploring what it means to age as a woman. There are neither enough role models for young women, nor are post-menopausal women adequately represented in Western society.\n",[],{"_key":1475,"_type":219,"children":1476,"markDefs":1481,"style":232},"49a4cd8e7818",[1477],{"_key":1478,"_type":223,"marks":1479,"text":1480},"b511c5425ccd0",[],"We aim to promote the diversity of women’s life paths through what might ultimately take the form of a ‘transdisciplinary installation road movie’ (working format). We plan to do this through a series of encounters with women whom we visit. We intend to record our conversations with them (and possibly some of their friends) and develop a staged photograph together with them.\n",[],{"_key":1483,"_type":219,"children":1484,"markDefs":1496,"style":232},"ff2fb9f8558a",[1485,1489,1492],{"_key":1486,"_type":223,"marks":1487,"text":1488},"2ca252360f460",[],"To help us to narrow the focus of our project, we have launched a series of brainstorming sessions in the form of dinner events: ",{"_key":1490,"_type":223,"marks":1491,"text":1386},"2ca252360f461",[225,663],{"_key":1493,"_type":223,"marks":1494,"text":1495},"2ca252360f462",[]," (Thinking & Eating). To each of these participatory events, we invite a selected group of around four women.\n",[],{"_key":1498,"_type":219,"children":1499,"markDefs":1504,"style":232},"f67e64163598",[1500],{"_key":1501,"_type":223,"marks":1502,"text":1503},"f6fee29de2e40",[],"We cook a nice meal and, during dinner, discuss a specific topic that has been announced in advance, structured around questions and exercises.",[],{"_key":1506,"_type":219,"children":1507,"markDefs":1511,"style":232},"181d956e97d7",[1508],{"_key":1509,"_type":223,"marks":1510,"text":369},"1704042dadba0",[],[],{"_key":1513,"_type":219,"children":1514,"markDefs":1526,"style":232},"b54da85e2de2",[1515,1519,1523],{"_key":1516,"_type":223,"marks":1517,"text":1518},"4bcf2d8f67930",[],"The topics of the dinners we have organised so far were: ",{"_key":1520,"_type":223,"marks":1521,"text":1522},"4bcf2d8f67931",[663],"female roles/female role models, middle age as a woman (post menopause), mothers, learning and unlearning, body images",{"_key":1524,"_type":223,"marks":1525,"text":932},"4bcf2d8f67932",[],[],{"_key":1528,"_type":219,"children":1529,"markDefs":1533,"style":232},"c65759560323",[1530],{"_key":1531,"_type":223,"marks":1532,"text":369},"65b85d31d9880",[],[],{"_key":1535,"_type":219,"children":1536,"markDefs":1541,"style":232},"2444d7b591d9",[1537],{"_key":1538,"_type":223,"marks":1539,"text":1540},"a4466d67aad50",[],"The dinners were intense, intimate and very enriching for all participants. We have recognised that there is a great desire for spaces that enable discussion and exchange on these topics. The dinners have evolved into a project in their own right, a search for the creation and establishment of a common space for (ageing) women to share their experiences in dealing with expectations of what a woman’s life should look like.",[],{"_key":1543,"_type":219,"children":1544,"markDefs":1556,"style":232},"f1296a06222a",[1545,1549,1552],{"_key":1546,"_type":223,"marks":1547,"text":1548},"b9b2b4964a0f0",[],"Our project therefore consists of two parallel initiatives: the continuation of the ",{"_key":1550,"_type":223,"marks":1551,"text":1386},"b9b2b4964a0f1",[663],{"_key":1553,"_type":223,"marks":1554,"text":1555},"b9b2b4964a0f2",[]," dinner events and the development of the road movie. We aim to approach this in a playful and joyful manner, seeking connections, solidarity and intergenerational dialogue.",[],[1558,1569,1579,1589],{"_type":1559,"question":1560},"researchQuestion",[1561],{"_key":1562,"_type":219,"children":1563,"markDefs":1568,"style":232},"7279a512bfe4",[1564],{"_key":1565,"_type":223,"marks":1566,"text":1567},"59b525648f160",[],"How do we involve the women we want to meet in our project?",[],{"_type":1559,"question":1570},[1571],{"_key":1572,"_type":219,"children":1573,"markDefs":1578,"style":232},"a101e2816fb9",[1574],{"_key":1575,"_type":223,"marks":1576,"text":1577},"49725bbbcc49",[],"How can we navigate between a participatory approach and individual authorship?",[],{"_type":1559,"question":1580},[1581],{"_key":1582,"_type":219,"children":1583,"markDefs":1588,"style":232},"420d6eb167c0",[1584],{"_key":1585,"_type":223,"marks":1586,"text":1587},"77b58717635a",[],"How can we develop a concept for our final (road movie) project?",[],{"_type":1559,"question":1590},[1591],{"_key":1592,"_type":219,"children":1593,"markDefs":1598,"style":232},"5c6d7701437f",[1594],{"_key":1595,"_type":223,"marks":1596,"text":1597},"7e202af2455e",[],"How can we create a community beyond the individual events? How do we make the process and findings within the project accessible and sustainable for more than the momentary participants?",[],[1600,101,1601,1602,1603,1604,1605,411,1606,988,1333,1607,1608,1609,1610,1611,1612,1613,1614,1615,901,908],"a woman in the world (awitw)","how do we involve the women we want to meet in our project?","how can we navigate between a participatory approach and individual authorship?","how can we develop a concept for our final (road movie) project?","how can we create a community beyond the individual events? how do we make the process and findings within the project accessible and sustainable for more than the momentary participants?","may 2026 denken & essen event n°6\n\non turning points, decisions and social attributions\n\n\n\napril 2026 denken & essen event n°5\n\nabout learning and unlearning what it means to be a woman\n\n\n\n","based in zürich","a woman in the world awitw is an artistic practice-based research project. it originated when we noticed common ground in our respective film and art practices: a series of interviews with women about decisions and turning points (susanne hofer), and care work combined with research into the multifaceted life of an older woman (sabine hagmann).\n\n\nour shared interest in the expectations of a life as a woman was the starting point for our collaboration. we are now exploring what it means to age as a woman. there are neither enough role models for young women, nor are post-menopausal women adequately represented in western society.\n\n\nwe aim to promote the diversity of women’s life paths through what might ultimately take the form of a ‘transdisciplinary installation road movie’ (working format). we plan to do this through a series of encounters with women whom we visit. we intend to record our conversations with them (and possibly some of their friends) and develop a staged photograph together with them.\n\n\nto help us to narrow the focus of our project, we have launched a series of brainstorming sessions in the form of dinner events: denken & essen (thinking & eating). to each of these participatory events, we invite a selected group of around four women.\n\n\nwe cook a nice meal and, during dinner, discuss a specific topic that has been announced in advance, structured around questions and exercises.\n\n\n\nthe topics of the dinners we have organised so far were: female roles/female role models, middle age as a woman (post menopause), mothers, learning and unlearning, body images.\n\n\n\nthe dinners were intense, intimate and very enriching for all participants. we have recognised that there is a great desire for spaces that enable discussion and exchange on these topics. the dinners have evolved into a project in their own right, a search for the creation and establishment of a common space for (ageing) women to share their experiences in dealing with expectations of what a woman’s life should look like.\n\nour project therefore consists of two parallel initiatives: the continuation of the denken & essen dinner events and the development of the road movie. we aim to approach this in a playful and joyful manner, seeking connections, solidarity and intergenerational dialogue.","collective memory","artistic research","learning environment / spaces of knowledge","situational knowledge","performative activism","feminist knowledge transfer","field work","d.i.w.o (do it with others)",{"_type":9,"current":1617},"a-woman-in-the-world-awitw","A Woman in The World (AWITW)",{"_id":1620,"_type":838,"categories":1621,"credits":1653,"featuredImage":1945,"filterables":1953,"footnotes":1966,"locations":1967,"logbook":1972,"pageBuilder":2058,"researchQuestion":7,"researchQuestions":2070,"searchables":2121,"seo":7,"slug":2131,"title":2132,"year":102},"b485be6c-72d2-4ac3-af3f-1ccabfcf58f0",[1622,1625,1632,1639,1646],{"_id":855,"_type":293,"colorPrimary":1623,"seo":7,"slug":1624,"title":860},{"label":295,"value":857},{"_type":9,"current":859},{"_id":1626,"_type":293,"colorPrimary":1627,"seo":7,"slug":1629,"title":1631},"e3525d54-ed8f-454f-915c-12c953e9b9e1",{"label":295,"value":1628},"#ff7300",{"_type":9,"current":1630},"workshop","Workshop",{"_id":1633,"_type":293,"colorPrimary":1634,"seo":7,"slug":1636,"title":1638},"1f41fb9e-babf-4b30-8a9c-d7cec40cc9ac",{"label":295,"value":1635},"#f0f0ff",{"_type":9,"current":1637},"playground","Playground",{"_id":1640,"_type":293,"colorPrimary":1641,"seo":7,"slug":1643,"title":1645},"dc7c74a5-7627-4c58-9e66-d5f78b294983",{"label":295,"value":1642},"#00ff55",{"_type":9,"current":1644},"alongside-learning","Alongside Learning",{"_id":1647,"_type":293,"colorPrimary":1648,"seo":7,"slug":1650,"title":1652},"546b349f-3bb2-4aef-bedd-969fa7cd71d8",{"label":295,"value":1649},"#00ff41",{"_type":9,"current":1651},"expert-learner","Expert Learner",{"other":1654,"profiles":1703},[1655],{"_key":1656,"_type":219,"children":1657,"markDefs":1702,"style":232},"dd455a46bf2e",[1658,1662,1666,1670,1674,1678,1682,1686,1690,1694,1698],{"_key":1659,"_type":223,"marks":1660,"text":1661},"022b278ef1130",[225],"‘",{"_key":1663,"_type":223,"marks":1664,"text":1665},"022b278ef1131",[663],"The Expert Learner’",{"_key":1667,"_type":223,"marks":1668,"text":1669},"022b278ef1132",[]," experiments with ",{"_key":1671,"_type":223,"marks":1672,"text":1673},"022b278ef1133",[663],"how to learn",{"_key":1675,"_type":223,"marks":1676,"text":1677},"022b278ef1134",[]," (or learning how) rather than ",{"_key":1679,"_type":223,"marks":1680,"text":1681},"022b278ef1135",[663],"what to learn",{"_key":1683,"_type":223,"marks":1684,"text":1685},"022b278ef1136",[],". Refuting the master/pupil duality and acknowledging learning as a continuum, where individuals are at different stages in their learning which changes their position in the continuum. ‘",{"_key":1687,"_type":223,"marks":1688,"text":1689},"022b278ef1137",[663],"Show Don’t Tell’ ",{"_key":1691,"_type":223,"marks":1692,"text":1693},"022b278ef1138",[],"is a collective doing/exploration where information sharing uses a variety of methods including demonstration, dialogue, and practical co-making. Aiming to acknowledge the roles (makers, dreamers, filmmakers, observers) that offer modes of engagement, reframing collaboration. ‘",{"_key":1695,"_type":223,"marks":1696,"text":1697},"022b278ef1139",[663],"Convivial Parallel Play’ ",{"_key":1699,"_type":223,"marks":1700,"text":1701},"022b278ef11310",[],"explores cooperation growing organically rather than the dominant prevalence of enforced collaboration as a learning strategy. Collaboration can be more complex and not beneficial for some learners who are neurodiverse or not easily welcomed in the university due to class or race. Our research focuses on processes of learning that allow for individual outcomes/insights/breakthroughs.",[],[1704,1816,1876],{"_id":1705,"_type":310,"activeYears":1706,"bio":1709,"bioShort":1777,"featuredImage":1778,"filterables":1786,"links":1789,"locations":1798,"searchables":1811,"seo":7,"slug":1813,"title":1815},"402b9963-e47f-4150-ab7c-2080b5eb2d2b",[1707],{"_id":98,"_type":99,"seo":7,"slug":1708,"title":102},{"_type":9,"current":101},[1710,1718,1737],{"_key":1711,"_type":219,"children":1712,"markDefs":1717,"style":232},"386c3c33c5cb",[1713],{"_key":1714,"_type":223,"marks":1715,"text":1716},"dba8d53381bd0",[],"O’Neill is an artist, author, and educator whose practice engages with profound cultural issues that often leave us mute, such as isolation and loss. Through her writing and artworks, she explores the search for meaning in the face of life experiences that can render existence chaotic and incomprehensible.",[],{"_key":1719,"_type":219,"children":1720,"markDefs":1734,"style":232},"be61076f00e7",[1721,1725,1730],{"_key":1722,"_type":223,"marks":1723,"text":1724},"9ca9f021438e0",[],"Her recent projects draw on maritime language and the laws of salvage as metaphors to reflect on both personal grief and the collective losses inherent in an ever-changing world. From an original interest in ephemeral art and notions of mortality and immortality, her research has developed to explore intangible culture, in particular the lost skills that are embodied in museum objects. These works weave together moving images, sculpture, text, and sound, ranging from spoken word to recordings of the natural environment. ",{"_key":1726,"_type":223,"marks":1727,"text":1729},"9ca9f021438e1",[1728],"e6339662ed93","The Wolfe Island Collection ",{"_key":1731,"_type":223,"marks":1732,"text":1733},"152de1eb8be1",[],"is a series of artefacts and fictive academic publications that document the history of the now abandoned island and its inhabitants.",[1735],{"_key":1728,"_type":249,"href":1736},"https://maryoneill884258.substack.com",{"_key":1738,"_type":219,"children":1739,"markDefs":1771,"style":232},"3d8b58935101",[1740,1744,1749,1753,1758,1762,1766],{"_key":1741,"_type":223,"marks":1742,"text":1743},"b08b886bf9eb0",[],"Recent short films",{"_key":1745,"_type":223,"marks":1746,"text":1748},"b08b886bf9eb1",[1747,663],"74f08c4c6386","Re-creative Practice: Learning from the Past",{"_key":1750,"_type":223,"marks":1751,"text":1752},"b08b886bf9eb2",[],", and ",{"_key":1754,"_type":223,"marks":1755,"text":1757},"b08b886bf9eb3",[1756,663],"7eaf0dac676b","Museum of Leathercraft – Ordinary Objects: Extraordinary Stories",{"_key":1759,"_type":223,"marks":1760,"text":1761},"b08b886bf9eb4",[663],",",{"_key":1763,"_type":223,"marks":1764,"text":1765},"b08b886bf9eb5",[]," in collaboration with film maker Nik Trzcinowicz, explore the role of museum as repositories of knowledge and the potential of re-creative practice to afford a deep engagement with history and to re-vivify museum ",{"_key":1767,"_type":223,"marks":1768,"text":1770},"3c589bc81779",[1769],"598af53b19c5","objects.",[1772,1774,1776],{"_key":1747,"_type":249,"blank":250,"href":1773},"https://www.youtube.com/watch?v=K29EF7idwa0&t=3s",{"_key":1756,"_type":249,"href":1775},"https://vimeo.com/890603281",{"_key":1769,"_type":249},"Mary O’Neill is an artist, author, and educator whose practice engages with profound cultural issues that often leave us mute, such as isolation and loss. Through her artworks and publications she explores the search for meaning in the face of life experiences that can render the world chaotic and incomprehensible.",{"alt":1779,"asset":1780},"Dr Mary O’Neill",{"_id":1781,"height":1782,"orientation":492,"ratio":1783,"url":1784,"width":1785},"image-aff35d5dafda37e212f47d171d1a341a83eb500f-1072x1620-png",1620,0.6617283950617284,"https://cdn.sanity.io/images/eodip22e/production/aff35d5dafda37e212f47d171d1a341a83eb500f-1072x1620.png",1072,{"filterYear":1787},[1788],{"_id":98,"title":102},[1790,1792,1794,1796],{"_type":396,"label":397,"url":1791},"https://www.dmu.ac.uk/about-dmu/academic-staff/art-design-humanities/mary-oneill/mary-oneill.aspx",{"_type":396,"label":1793,"url":1736},"Wolfe Island Collection",{"_type":396,"label":1795,"url":1775}," Ordinary Objects; Extraordinary Stories ",{"_type":396,"label":1797,"url":1773},"Re-creative: Learning from the past influence the future",{"locations":1799,"other":1802},[1800],{"_id":408,"_type":409,"seo":7,"slug":1801,"title":412},{"_type":9,"current":411},[1803],{"_key":1804,"_type":219,"children":1805,"markDefs":1810,"style":232},"2036305386d5",[1806],{"_key":1807,"_type":223,"marks":1808,"text":1809},"e1b9c66e4fc2",[],"Irish based in Leicester, United Kingdom.",[],[1812,101],"mary o’neill",{"_type":9,"current":1814},"dr-mary-o-neill","Mary O’Neill",{"_id":1817,"_type":310,"activeYears":1818,"bio":1821,"bioShort":1846,"featuredImage":1847,"filterables":1855,"links":7,"locations":1858,"searchables":1871,"seo":7,"slug":1873,"title":1875},"d8b5e983-1b66-4225-b979-7caa413d4de1",[1819],{"_id":98,"_type":99,"seo":7,"slug":1820,"title":102},{"_type":9,"current":101},[1822,1830,1838],{"_key":1823,"_type":219,"children":1824,"markDefs":1829,"style":232},"e459c098228a",[1825],{"_key":1826,"_type":223,"marks":1827,"text":1828},"f7f185ece6a80",[],"Artist and Curator. My research focuses on democracy and knowledge exchange, and critical pedagogy as a curatorial and artistic methodology. Co-lead research contract with Natural England on nature based collaborative creative stroy telling for nature recovery and engagement.",[],{"_key":1831,"_type":219,"children":1832,"markDefs":1837,"style":232},"95f1ecb6762e",[1833],{"_key":1834,"_type":223,"marks":1835,"text":1836},"e9e4c40f8b4d0",[],"Key highlights: Brent Biennial 2025, films selected for the London Film Festival and winner of best experimental at the experimental Busam Film festival. Curated over 20 exhibitions across the UK and Europe. Author of Art, Critical Pedagogy and Capitalism (Routledge 2021) co-author a new monograph on Educational Aesthetics with Bloomsbury (due 2024). Founder of the Middlesbrough Art Weekender and The Alternative Art College. Innovation in academic study and curatorial learning.",[],{"_key":1839,"_type":219,"children":1840,"markDefs":1845,"style":232},"35ca363fb671",[1841],{"_key":1842,"_type":223,"marks":1843,"text":1844},"1942e912fe160",[],"Principal lecturer at Teesside University and leads the MA Curating programme.  PhD (2018) Teesside University and a MA in Art and Politics from Goldsmiths College as well as a BA (Hons) Degree in Fine Art from Lincoln University. Co-founded the Middlesbrough Art Weekender in and has set up collectives including the Alternative Art College  and currently working with Sarah Perks as Forms of Circulation. ",[],"Paul Stewart is a socially engaged artist and curator, based in Newcastle, using film, performance, and sound to explore how histories are shared, and how knowledge can be embodied when working with multiple voices and communities. ",{"alt":1848,"asset":1849},"head shot, wihte man wearing a hat looking to the left in black and white",{"_id":1850,"height":1851,"orientation":492,"ratio":1852,"url":1853,"width":1854},"image-d3474a6e000c7d5d5c3b6cff672905d7c7e9dce9-590x756-png",756,0.7804232804232805,"https://cdn.sanity.io/images/eodip22e/production/d3474a6e000c7d5d5c3b6cff672905d7c7e9dce9-590x756.png",590,{"filterYear":1856},[1857],{"_id":98,"title":102},{"locations":1859,"other":1862},[1860],{"_id":408,"_type":409,"seo":7,"slug":1861,"title":412},{"_type":9,"current":411},[1863],{"_key":1864,"_type":219,"children":1865,"markDefs":1870,"style":232},"a2a5ffa4f125",[1866],{"_key":1867,"_type":223,"marks":1868,"text":1869},"2775aed488cc",[],"United Kingdom",[],[1872,101],"paul alexander stewart",{"_type":9,"current":1874},"paul-alexander-stewart","Paul Alexander Stewart",{"_id":1877,"_type":310,"activeYears":1878,"bio":1881,"bioShort":1921,"featuredImage":7,"filterables":1922,"links":1925,"locations":1928,"searchables":1940,"seo":7,"slug":1942,"title":1944},"c57a6190-1e79-4dfb-95bc-009970808107",[1879],{"_id":98,"_type":99,"seo":7,"slug":1880,"title":102},{"_type":9,"current":101},[1882,1890],{"_key":1883,"_type":219,"children":1884,"markDefs":1889,"style":232},"39382a02caa5",[1885],{"_key":1886,"_type":223,"marks":1887,"text":1888},"811b5d7e0d220",[],"Anouk Hoogendoorn is an artistic researcher that works with text, textile, and performance. The (spoken) texts, textiles, sketches, and sounds that come out of this practice are moments of processes rather than presentations fixed once and for all. They are currently doing a practice-based PhD at School of Arts and Creative Industries, TeessideUniversity (UK) and Institute for Performing Arts and Film, Zurich University of the Arts (CH). Their research explores the materiality and material conditions of writing and reading. Here the material is meant in twofold: both the socio-political dimension (informed by queer and disability studies) and the artistic (informed by language-based artistic research).",[],{"_key":1891,"_type":219,"children":1892,"markDefs":1920,"style":232},"0b7f19fe278d",[1893,1897,1901,1905,1909,1912,1916],{"_key":1894,"_type":223,"marks":1895,"text":1896},"ea1d278efd07",[],"\nAnouk has a practice that always has an important collaborative, experimental, and pedagogical orientation to it.Currently they are Theory and Artistic Research Tutor at BEAR Fine Arts, are a part of the School of Commons ’26 Cohort, and co-host the special interest group ",{"_key":1898,"_type":223,"marks":1899,"text":1900},"811b5d7e0d2249",[663],"Words",{"_key":1902,"_type":223,"marks":1903,"text":1904},"811b5d7e0d2250",[]," ",{"_key":1906,"_type":223,"marks":1907,"text":1908},"811b5d7e0d2251",[663],"as",{"_key":1910,"_type":223,"marks":1911,"text":1904},"811b5d7e0d2252",[],{"_key":1913,"_type":223,"marks":1914,"text":1915},"811b5d7e0d2253",[663],"Matter",{"_key":1917,"_type":223,"marks":1918,"text":1919},"811b5d7e0d2254",[]," at the Language-Based Artistic Research Group. Anouk often shares their research at symposia and through workshops. They have done (guest) teaching at Master in Curating Teesside University (UK), Åbo Akademi (FI), and Sandberg Institute (NL) among others. In the last couple of years, they were visiting researcher at Access in the Making Lab (CA), artist in residence at Titanik Gallery (FI) and Casa Liquida (BR), and part of the Nida Doctoral School (LI). Prior to this, they were part of the PEERS ’22/’23 cohort and No Academy 2021.",[],"Anouk Hoogendoorn is an artistic researcher that works with text, textile, and performance. The (spoken) texts, textiles, sketches, and sounds that come out of this practice are moments of processes rather than presentations fixed once and for all. ",{"filterYear":1923},[1924],{"_id":98,"title":102},[1926],{"_type":396,"label":397,"url":1927},"https://www.anoukhoogendoorn.com/",{"locations":1929,"other":1932},[1930],{"_id":408,"_type":409,"seo":7,"slug":1931,"title":412},{"_type":9,"current":411},[1933],{"_key":1934,"_type":219,"children":1935,"markDefs":1939,"style":232},"25145542c81f",[1936],{"_key":1937,"_type":223,"marks":1938,"text":1869},"8a3b50e9e1b5",[],[],[1941,101],"anouk hoogendoorn",{"_type":9,"current":1943},"anouk-hoogendoorn","Anouk Hoogendoorn",{"alt":1946,"asset":1947},"Show don't tell - learning alongside",{"_id":1948,"height":1949,"orientation":383,"ratio":1950,"url":1951,"width":1952},"image-66e6ceb4687d217cf39b9b37fa3e95038f7d749f-3536x2102-jpg",2102,1.6822074215033302,"https://cdn.sanity.io/images/eodip22e/production/66e6ceb4687d217cf39b9b37fa3e95038f7d749f-3536x2102.jpg",3536,{"filterCategory":1954,"filterLocation":1960,"filterYear":1964},[1955,1956,1957,1958,1959],{"_id":855,"title":860},{"_id":1626,"title":1631},{"_id":1633,"title":1638},{"_id":1640,"title":1645},{"_id":1647,"title":1652},[1961],{"_id":1962,"title":1963},"1b718342-43d5-4f76-a0af-48df3b287726","Transnational",[1965],{"_id":98,"title":102},[],{"locations":1968,"other":7},[1969],{"_id":1962,"_type":409,"seo":7,"slug":1970,"title":1963},{"_type":9,"current":1971},"transnational",[1973,1981,2000,2008,2022,2034,2042,2050],{"_key":1974,"_type":219,"children":1975,"markDefs":1980,"style":232},"1129039779aa",[1976],{"_key":1977,"_type":223,"marks":1978,"text":1979},"5fcfe0751f13",[],"Beginning and Bending - meeting outcome.",[],{"_key":1982,"_type":219,"children":1983,"markDefs":1997,"style":232},"b849df02b3ac",[1984,1988,1993],{"_key":1985,"_type":223,"marks":1986,"text":1987},"833e3f273fb0",[],"How can we think about learning as 'beginning and bending' rather than beginning and ",{"_key":1989,"_type":223,"marks":1990,"text":1992},"0bad4d7c3460",[1991],"51479d35a654","ending.",{"_key":1994,"_type":223,"marks":1995,"text":1996},"6e2b27fc43bf",[]," Learning isn't finite - there is no real ending but along the way there may be bending. ",[1998],{"_key":1991,"_type":1999,"file":7},"fileUploadLink",{"_key":2001,"_type":219,"children":2002,"markDefs":2007,"style":232},"944f9d68f700",[2003],{"_key":2004,"_type":223,"marks":2005,"text":2006},"bc2e3c615a41",[],"Bends - ",[],{"_key":2009,"_type":219,"children":2010,"level":2019,"listItem":2020,"markDefs":2021,"style":232},"fe61b1d37901",[2011,2015],{"_key":2012,"_type":223,"marks":2013,"text":2014},"770fb2bbf6320",[225],"Verb (action):",{"_key":2016,"_type":223,"marks":2017,"text":2018},"770fb2bbf6321",[]," Curve, twist, flex, bow, stoop, warp, curl, loop, veer, buckle.",1,"bullet",[],{"_key":2023,"_type":219,"children":2024,"level":2019,"listItem":2020,"markDefs":2033,"style":232},"2d1397fc353e",[2025,2029],{"_key":2026,"_type":223,"marks":2027,"text":2028},"18fee4a7191e0",[225],"Noun (shape):",{"_key":2030,"_type":223,"marks":2031,"text":2032},"18fee4a7191e1",[]," Curve, angle, arc, crook, corner, turn, curvature, loop.",[],{"_key":2035,"_type":219,"children":2036,"level":2019,"listItem":2020,"markDefs":2041,"style":232},"b40b5048d612",[2037],{"_key":2038,"_type":223,"marks":2039,"text":2040},"7153509ceb47",[],"or perhaps ",[],{"_key":2043,"_type":219,"children":2044,"markDefs":2049,"style":232},"612c506eb0a2",[2045],{"_key":2046,"_type":223,"marks":2047,"text":2048},"4e290e95292f0",[],"\"The bends\" (decompression sickness) is a, sometimes fatal, condition caused by nitrogen bubbles forming in the blood and tissues due to a rapid decrease in surrounding pressure. ",[],{"_key":2051,"_type":219,"children":2052,"markDefs":2057,"style":232},"0752fa0e25dc",[2053],{"_key":2054,"_type":223,"marks":2055,"text":2056},"7833f8de73f50",[],"divers who surface too quickly.",[],[2059],{"_type":1451,"settings":2060,"text":2061},{"textColumnCount":1453},[2062],{"_key":2063,"_type":219,"children":2064,"markDefs":2069,"style":232},"5bdd96acf444",[2065],{"_key":2066,"_type":223,"marks":2067,"text":2068},"17ab6b17c343",[],"“Alongside: learning as a parallel action to proximate peers, projects and things in the neighbourhood” will be explored through three propositions: “The Expert Learner” which alters the master/pupil duality into learning on a continuum; “Show Don’t Tell” where sharing is rethought and remade; “Parallel Play in Conviviality” where conviviality is thought as a learning side-by-side rather than one-plus-one. The propositions posit the commons or commoning, not as collaboration, but working in parallel or alongside, recognising difference and avoid the conflation of collaboration as agreement or singular but multiple. \n\nOur collective of three exists of teachers and students from different generations, where x tutored y, y tutored z, and z will tutor a student to come. But rather than seeing it as a formal system of hierarchies, we somehow ended up following each other's learning in a matter of being alongside, as being each other’s expert-learners. We want to explore how this came to be and how we can give this forward. \n\nThe project isn't pre-existing but it builds on a legacy of over 30 years of combined learning and making around the topics of commoning, learning, becoming, and activism through art and pedagogy. As a trio, we strive to all be present for the programme with at least two of us at all times. The expert learner doesn’t dismiss prior knowledge or experience but acknowledges the multiple ways knowledge is held and shared. It positions the teacher as not the expert on knowledge but the expert on learning, they have learnt how to orate or share. Through ‘being with’ both others, materials, and ideas, the ambition is to explore without prescribed notions, using durational working, following energy, stopping, not aiming for end goals but experiencing the process. This method allows for individually negotiated or defined notions of ‘success’ and acknowledges that each member of the session will be at a different learning stage, it shifts the capitalist malaise from learning as a thing to get through for accumulation to becoming the essence of commoning, the activity of being with and of the world.",[],[2071,2092,2108],{"_type":1559,"question":2072},[2073,2085],{"_key":2074,"_type":219,"children":2075,"markDefs":2081,"style":232},"ffeced3c8f3c",[2076],{"_key":2077,"_type":223,"marks":2078,"text":2080},"82166941289e0",[2079],"6f264bef2d07","How can we develop supportive and inclusive strategies that do not rely on traditional models of expert teachers and passive students that acknowledge fluidity, risk, not-knowing and chance as key elements of the development of any creative practice? ",[2082],{"_key":2079,"_type":2083,"label":295,"value":2084},"highlightColor","#00ff04",{"_key":2086,"_type":219,"children":2087,"markDefs":2091,"style":232},"3e891cb68915",[2088],{"_key":2089,"_type":223,"marks":2090,"text":369},"ca3486931497",[],[],{"_type":1559,"question":2093},[2094],{"_key":2095,"_type":219,"children":2096,"markDefs":2105,"style":232},"457ee29cc3a9",[2097,2102],{"_key":2098,"_type":223,"marks":2099,"text":2101},"abb80d27f59b",[2100],"4c105e4d8764","What does it mean to engage in 'learning as becoming' rather than learning for accumulation or measurable success?",{"_key":2103,"_type":223,"marks":2104,"text":341},"16f3cd147f8f",[],[2106],{"_key":2100,"_type":2083,"label":295,"value":2107},"#01aefe",{"_type":1559,"question":2109},[2110],{"_key":2111,"_type":219,"children":2112,"markDefs":2118,"style":232},"ea6d0111c8a4",[2113],{"_key":2114,"_type":223,"marks":2115,"text":2117},"29aa4ab3f5dd",[2116],"1a7eba49d1bd","How can teaching be a form of being an expert on learning, in a manner of being alongside the learning?",[2119],{"_key":2116,"_type":2083,"label":295,"value":2120},"#db02ff",[2122,101,2123,2124,2125,2126,1971,1812,1872,1941,2127,2128,1610,1630,1637,2129,2130],"alongside","how can we develop supportive and inclusive strategies that do not rely on traditional models of expert teachers and passive students that acknowledge fluidity, risk, not-knowing and chance as key elements of the development of any creative practice? \n\n","what does it mean to engage in 'learning as becoming' rather than learning for accumulation or measurable success? ","how can teaching be a form of being an expert on learning, in a manner of being alongside the learning?","beginning and bending - meeting outcome.\n\nhow can we think about learning as 'beginning and bending' rather than beginning and ending. learning isn't finite - there is no real ending but along the way there may be bending. \n\nbends - \n\nverb (action): curve, twist, flex, bow, stoop, warp, curl, loop, veer, buckle.\n\nnoun (shape): curve, angle, arc, crook, corner, turn, curvature, loop.\n\nor perhaps \n\n\"the bends\" (decompression sickness) is a, sometimes fatal, condition caused by nitrogen bubbles forming in the blood and tissues due to a rapid decrease in surrounding pressure. \n\ndivers who surface too quickly.","‘the expert learner’ experiments with how to learn (or learning how) rather than what to learn. refuting the master/pupil duality and acknowledging learning as a continuum, where individuals are at different stages in their learning which changes their position in the continuum. ‘show don’t tell’ is a collective doing/exploration where information sharing uses a variety of methods including demonstration, dialogue, and practical co-making. aiming to acknowledge the roles (makers, dreamers, filmmakers, observers) that offer modes of engagement, reframing collaboration. ‘convivial parallel play’ explores cooperation growing organically rather than the dominant prevalence of enforced collaboration as a learning strategy. collaboration can be more complex and not beneficial for some learners who are neurodiverse or not easily welcomed in the university due to class or race. our research focuses on processes of learning that allow for individual outcomes/insights/breakthroughs.","“alongside: learning as a parallel action to proximate peers, projects and things in the neighbourhood” will be explored through three propositions: “the expert learner” which alters the master/pupil duality into learning on a continuum; “show don’t tell” where sharing is rethought and remade; “parallel play in conviviality” where conviviality is thought as a learning side-by-side rather than one-plus-one. the propositions posit the commons or commoning, not as collaboration, but working in parallel or alongside, recognising difference and avoid the conflation of collaboration as agreement or singular but multiple. \n\nour collective of three exists of teachers and students from different generations, where x tutored y, y tutored z, and z will tutor a student to come. but rather than seeing it as a formal system of hierarchies, we somehow ended up following each other's learning in a matter of being alongside, as being each other’s expert-learners. we want to explore how this came to be and how we can give this forward. \n\nthe project isn't pre-existing but it builds on a legacy of over 30 years of combined learning and making around the topics of commoning, learning, becoming, and activism through art and pedagogy. as a trio, we strive to all be present for the programme with at least two of us at all times. the expert learner doesn’t dismiss prior knowledge or experience but acknowledges the multiple ways knowledge is held and shared. it positions the teacher as not the expert on knowledge but the expert on learning, they have learnt how to orate or share. through ‘being with’ both others, materials, and ideas, the ambition is to explore without prescribed notions, using durational working, following energy, stopping, not aiming for end goals but experiencing the process. this method allows for individually negotiated or defined notions of ‘success’ and acknowledges that each member of the session will be at a different learning stage, it shifts the capitalist malaise from learning as a thing to get through for accumulation to becoming the essence of commoning, the activity of being with and of the world.","alongside learning","expert learner",{"_type":9,"current":2122},"Alongside",{"_id":2134,"_type":838,"categories":2135,"credits":2142,"featuredImage":2253,"filterables":2261,"footnotes":2269,"locations":2270,"logbook":7,"pageBuilder":2283,"researchQuestion":7,"researchQuestions":2299,"searchables":2330,"seo":7,"slug":2337,"title":2339,"year":102},"b42752b7-d03e-4814-aa4d-dcbd20595e4c",[2136,2139],{"_id":848,"_type":293,"colorPrimary":2137,"seo":7,"slug":2138,"title":853},{"label":295,"value":850},{"_type":9,"current":852},{"_id":855,"_type":293,"colorPrimary":2140,"seo":7,"slug":2141,"title":860},{"label":295,"value":857},{"_type":9,"current":859},{"other":7,"profiles":2143},[2144],{"_id":2145,"_type":310,"activeYears":2146,"bio":2149,"bioShort":2230,"featuredImage":2231,"filterables":2238,"links":2241,"locations":2244,"searchables":2248,"seo":7,"slug":2250,"title":2252},"01631306-0bc4-4a63-ae57-2f88d3b409ff",[2147],{"_id":98,"_type":99,"seo":7,"slug":2148,"title":102},{"_type":9,"current":101},[2150],{"_key":2151,"_type":219,"children":2152,"markDefs":2215,"style":232},"4118b0e0a6f6",[2153,2157,2162,2166,2171,2175,2180,2184,2189,2193,2198,2202,2206,2210],{"_key":2154,"_type":223,"marks":2155,"text":2156},"4e42720d32ac0",[],"Art critic, art curator and media manager\n\n♿️ The creator of the inclusive art project \"",{"_key":2158,"_type":223,"marks":2159,"text":2161},"a3f1a0099e1b",[2160],"f44ace9e2394","I will come",{"_key":2163,"_type":223,"marks":2164,"text":2165},"353b2c8a2d93",[],"\" \n🎨 The telegram channel \"",{"_key":2167,"_type":223,"marks":2168,"text":2170},"aa80b4cb8051",[2169],"55b6ea859b86","About art and more",{"_key":2172,"_type":223,"marks":2173,"text":2174},"75f5517e5f31",[],"\" \n🇵🇱 Telegram chats \"",{"_key":2176,"_type":223,"marks":2177,"text":2179},"30035dc8bd6e",[2178],"20dc76bbd0f0","Inclusive Poland",{"_key":2181,"_type":223,"marks":2182,"text":2183},"b96c4d0296ba",[],"\" \n✨ \"",{"_key":2185,"_type":223,"marks":2186,"text":2188},"6b934e543bf0",[2187],"f06fe575fa5d","Inclusive Poland. Autism",{"_key":2190,"_type":223,"marks":2191,"text":2192},"c24a90959191",[],"\"\n🖼 ArtPolska ",{"_key":2194,"_type":223,"marks":2195,"text":2197},"85a6d8960564",[2196],"1300a7917427","Virtual gallery of artists in Poland",{"_key":2199,"_type":223,"marks":2200,"text":2201},"80aafe19598d",[],"\n🖥 Channel about people with disabilities \"",{"_key":2203,"_type":223,"marks":2204,"text":2161},"b4819f01e3a9",[2205],"6f8040fff40f",{"_key":2207,"_type":223,"marks":2208,"text":2209},"728da99e95e1",[],"\" \n✌️ I invite you to the art community of ",{"_key":2211,"_type":223,"marks":2212,"text":2214},"a78fee80c9d3",[2213],"2f601513d809","emigrant artists in Poland",[2216,2218,2220,2222,2224,2226,2228],{"_key":2160,"_type":249,"blank":250,"href":2217},"https://instagram.com/ya_priedu",{"_key":2169,"_type":249,"blank":250,"href":2219},"https://t.me/ya_priedu",{"_key":2178,"_type":249,"blank":250,"href":2221},"https://t.me/inclusivepoland",{"_key":2187,"_type":249,"blank":250,"href":2223},"https://t.me/inclusivepolandautism",{"_key":2196,"_type":249,"href":2225},"https://t.me/ArtPolska",{"_key":2205,"_type":249,"blank":250,"href":2227},"https://youtube.com/@Yapriedu",{"_key":2213,"_type":249,"blank":250,"href":2229},"https://t.me/+ESsg6ny7QGM5YTIx","Art critic, art curator and media manager",{"alt":7,"asset":2232},{"_id":2233,"height":2234,"orientation":492,"ratio":2235,"url":2236,"width":2237},"image-0480468251afe89b4500a5ebe75eecaa10cf09ef-720x1280-jpg",1280,0.5625,"https://cdn.sanity.io/images/eodip22e/production/0480468251afe89b4500a5ebe75eecaa10cf09ef-720x1280.jpg",720,{"filterYear":2239},[2240],{"_id":98,"title":102},[2242],{"_type":396,"label":403,"url":2243},"https://www.instagram.com/elvirakoroleva007",{"locations":2245,"other":7},[2246],{"_id":408,"_type":409,"seo":7,"slug":2247,"title":412},{"_type":9,"current":411},[2249,101],"elvira koroleva",{"_type":9,"current":2251},"elvira-koroleva","Elvira Koroleva",{"alt":2254,"asset":2255},"Art in Exile by Elvira Koroleva",{"_id":2256,"height":2257,"orientation":492,"ratio":2258,"url":2259,"width":2260},"image-b11be0acd9794995cbabbe2f351c50327710e9f9-602x1092-png",1092,0.5512820512820513,"https://cdn.sanity.io/images/eodip22e/production/b11be0acd9794995cbabbe2f351c50327710e9f9-602x1092.png",602,{"filterCategory":2262,"filterLocation":2265,"filterYear":2267},[2263,2264],{"_id":848,"title":853},{"_id":855,"title":860},[2266],{"_id":408,"title":412},[2268],{"_id":98,"title":102},[],{"locations":2271,"other":2274},[2272],{"_id":408,"_type":409,"seo":7,"slug":2273,"title":412},{"_type":9,"current":411},[2275],{"_key":2276,"_type":219,"children":2277,"markDefs":2282,"style":232},"a2054dbb0633",[2278],{"_key":2279,"_type":223,"marks":2280,"text":2281},"d59c8ebf2e390",[],"Based in Warsaw",[],[2284],{"_type":1451,"settings":2285,"text":2286},{"textColumnCount":1453},[2287],{"_key":2288,"_type":219,"children":2289,"markDefs":2298,"style":232},"a2095c572ae9",[2290,2294],{"_key":2291,"_type":223,"marks":2292,"text":2293},"f6440a7e9df80",[225],"Inclusive Art in Switzerland: Artists with Disabilities and Migration Experience as an Essential Part of the Artistic Landscape",{"_key":2295,"_type":223,"marks":2296,"text":2297},"f6440a7e9df81",[]," explores how artists with disabilities and migration backgrounds contribute to contemporary art and cultural life in Switzerland. The project focuses on issues of visibility, access, representation, and belonging, examining how artists with lived experiences of disability and displacement challenge dominant narratives and enrich artistic ecosystems. Through research, interviews, curatorial inquiry, and engagement with artists, institutions, and communities, the project aims to identify more inclusive models of cultural participation and support. It also investigates how museums, residency programs, and cultural organizations can create sustainable conditions for artistic development and equal participation. By connecting disability studies, migration, and curatorial practice, the project seeks to contribute to broader discussions on diversity, accessibility, and social justice in contemporary art. ",[],[2300,2310,2320],{"_type":1559,"question":2301},[2302],{"_key":2303,"_type":219,"children":2304,"markDefs":2309,"style":232},"c1de1c7f89fb",[2305],{"_key":2306,"_type":223,"marks":2307,"text":2308},"4487f02580ed",[],"How can artists with disabilities and migration backgrounds be more fully recognized and integrated as essential contributors to contemporary art ecosystems in Switzerland?",[],{"_type":1559,"question":2311},[2312],{"_key":2313,"_type":219,"children":2314,"markDefs":2319,"style":232},"f95d8a9b0f69",[2315],{"_key":2316,"_type":223,"marks":2317,"text":2318},"94fda60d1fa0",[],"What curatorial, institutional, and community-based models best support their visibility, agency, and professional development?",[],{"_type":1559,"question":2321},[2322],{"_key":2323,"_type":219,"children":2324,"markDefs":2329,"style":232},"3f6aa3dadd8e",[2325],{"_key":2326,"_type":223,"marks":2327,"text":2328},"1356f7e17433",[],"How do experiences of disability and migration influence artistic practices and cultural narratives?",[],[2331,101,2332,2333,2334,411,2335,2249,2336,1609,1610],"art in exile","how can artists with disabilities and migration backgrounds be more fully recognized and integrated as essential contributors to contemporary art ecosystems in switzerland?","what curatorial, institutional, and community-based models best support their visibility, agency, and professional development?","how do experiences of disability and migration influence artistic practices and cultural narratives?","based in warsaw","inclusive art in switzerland: artists with disabilities and migration experience as an essential part of the artistic landscape explores how artists with disabilities and migration backgrounds contribute to contemporary art and cultural life in switzerland. the project focuses on issues of visibility, access, representation, and belonging, examining how artists with lived experiences of disability and displacement challenge dominant narratives and enrich artistic ecosystems. through research, interviews, curatorial inquiry, and engagement with artists, institutions, and communities, the project aims to identify more inclusive models of cultural participation and support. it also investigates how museums, residency programs, and cultural organizations can create sustainable conditions for artistic development and equal participation. by connecting disability studies, migration, and curatorial practice, the project seeks to contribute to broader discussions on diversity, accessibility, and social justice in contemporary art. 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MALED IT! empowers queer, trans*, non-binary and FLINTA* persons through drag as a form of joyful resistance and transformation.",[],{"_key":2763,"_type":219,"children":2764,"markDefs":2769,"style":232},"391a1c3f9f28",[2765],{"_key":2766,"_type":223,"marks":2767,"text":2768},"0b0da03771a5",[]," My interest within the School of Commons lies in further developing Drag Kinging as a commons-based methodology for peer learning, critical play, and transdisciplinary research. 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Rather than treating masculinity* as something natural or fixed, Drag Kinging approaches it as something that can be observed, learned, rehearsed, questioned, and reinvented.",[],{"_key":2891,"_type":219,"children":2892,"markDefs":2897,"style":232},"49a0a27043e9",[2893],{"_key":2894,"_type":223,"marks":2895,"text":2896},"e36d09d5f73f0",[],"In this workshop, masculinity* is not understood as something that belongs to men.",[],{"_key":2899,"_type":219,"children":2900,"markDefs":2905,"style":232},"21c34bfd14b9",[2901],{"_key":2902,"_type":223,"marks":2903,"text":2904},"dccdd044132b0",[],"Instead, I invite us to think of masculinity* as a collection of gestures, behaviours, postures, expectations, fantasies, privileges, vulnerabilities, and ways of relating to others. Some of these we inherit. Some we resist. Some we consciously choose. Others we may still need to invent.",[],{"_key":2907,"_type":219,"children":2908,"markDefs":2913,"style":232},"eb9d37f578bd",[2909],{"_key":2910,"_type":223,"marks":2911,"text":2912},"2393b108fdaf0",[],"My interest is not in defining what masculinity* is or teaching you how to become a Drag King.",[],{"_key":2915,"_type":219,"children":2916,"markDefs":2921,"style":232},"af0adb786614",[2917],{"_key":2918,"_type":223,"marks":2919,"text":2920},"9e04afb311440",[],"My interest is in asking:",[],{"_key":2923,"_type":219,"children":2924,"markDefs":2929,"style":232},"8b9677c4a7e7",[2925],{"_key":2926,"_type":223,"marks":2927,"text":2928},"b356867d2b200",[],"How does masculinity* move through bodies?\nHow is it learned?\nHow is it performed?\nHow can it be transformed?",[],{"_key":2931,"_type":219,"children":2932,"markDefs":2937,"style":232},"3e8699b2221e",[2933],{"_key":2934,"_type":223,"marks":2935,"text":2936},"4782cb86d12b0",[],"And I am interested in the knowledge that lives in our bodies.",[],{"_key":2939,"_type":219,"children":2940,"markDefs":2945,"style":232},"134e72d531f3",[2941],{"_key":2942,"_type":223,"marks":2943,"text":2944},"3840a63fa2240",[],"The knowledge we inherit.\nThe knowledge we perform.\nThe knowledge we resist.\nThe knowledge we pass on to others without even noticing.",[],{"_key":2947,"_type":219,"children":2948,"markDefs":2953,"style":232},"5e20335d0f6d",[2949],{"_key":2950,"_type":223,"marks":2951,"text":2952},"b5ddb65a78360",[],"Today, we will use Drag Kinging not as a performance genre, but as a research tool.",[],{"_key":2955,"_type":219,"children":2956,"markDefs":2961,"style":232},"4ad673b4b9e7",[2957],{"_key":2958,"_type":223,"marks":2959,"text":2960},"7fdeaf2433bb0",[],"Recently, two terms have been accompanying my research: Body Rebellion and Flowing Knowledge.",[],{"_key":2963,"_type":219,"children":2964,"markDefs":2969,"style":232},"f8b2c009f2b3",[2965],{"_key":2966,"_type":223,"marks":2967,"text":2968},"58b143e127600",[],"Body Rebellion makes me wonder:\nWhere does resistance live in the body?\nWhat parts of ourselves have learned to adapt?\nWhat parts still refuse?",[],{"_key":2971,"_type":219,"children":2972,"markDefs":2977,"style":232},"28174cdb93a9",[2973],{"_key":2974,"_type":223,"marks":2975,"text":2976},"637bf39cbcdd0",[],"Flowing Knowledge makes me wonder:\nHow does knowledge travel?\nWhat happens when it moves from one body to another?\nWhat changes along the way?\nWhat gets lost?\nWhat gets invented?",[],{"_key":2979,"_type":219,"children":2980,"markDefs":2985,"style":232},"465128b0bd4c",[2981],{"_key":2982,"_type":223,"marks":2983,"text":2984},"3269fe5240700",[],"For the next hour, I would like us to approach these questions together.",[],{"_key":2987,"_type":219,"children":2988,"markDefs":2993,"style":232},"81c992df5b2c",[2989],{"_key":2990,"_type":223,"marks":2991,"text":2992},"74a23619d0700",[],"You will be invited to write, move, observe, speak, imagine, and perhaps try on a beard.",[],{"_key":2995,"_type":219,"children":2996,"markDefs":3001,"style":232},"e8c36d811565",[2997],{"_key":2998,"_type":223,"marks":2999,"text":3000},"e4755a6b2a880",[],"You don't need any previous experience with drag.\nYou don't need to perform.\nYou don't need to know the right answer.",[],{"_key":3003,"_type":219,"children":3004,"markDefs":3009,"style":232},"5ecf22b1b838",[3005],{"_key":3006,"_type":223,"marks":3007,"text":3008},"b59ab8f009d30",[],"I am not looking for expertise.\nI am looking for traces.",[],{"_key":3011,"_type":219,"children":3012,"markDefs":3017,"style":232},"2a30202c8d01",[3013],{"_key":3014,"_type":223,"marks":3015,"text":3016},"5e118a27721b0",[],"Traces of knowledge.\nTraces of rebellion.\nTraces of transformation.",[],{"_key":3019,"_type":219,"children":3020,"markDefs":3025,"style":232},"b7efefd87761",[3021],{"_key":3022,"_type":223,"marks":3023,"text":3024},"aee3842f28790",[],"Together, we will create a temporary Drag King Utopia: not a perfect place, but a space where other ways of being can be rehearsed.",[],{"_key":3027,"_type":219,"children":3028,"markDefs":3033,"style":232},"414506a21c05",[3029],{"_key":3030,"_type":223,"marks":3031,"text":3032},"4918b55593550",[],"Let's begin.",[],{"_type":1451,"settings":3035,"text":3036},{"textColumnCount":1453},[3037,3048,3055,3063],{"_key":3038,"_type":219,"children":3039,"markDefs":3045,"style":2810},"63904c40d79d",[3040],{"_key":3041,"_type":223,"marks":3042,"text":3044},"7c2fb38d299c0",[225,3043],"aa093b72b873","The Knowledge 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Knowledge travels. From body to body. Think of a skill, habit, gesture, survival strategy or piece of knowledge that has shaped you. +++",[],{"_type":3072,"images":3073,"settings":3126},"imagesBlock",[3074,3082,3086,3090,3094,3098,3102,3106,3110,3114,3118,3122],{"_type":3075,"alt":3076,"asset":3077},"image","MALED IT! 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like?",[],{"_type":1559,"question":3524},[3525],{"_key":3526,"_type":219,"children":3527,"markDefs":3532,"style":232},"0975fded3084",[3528],{"_key":3529,"_type":223,"marks":3530,"text":3531},"14ebef56abdd0",[],"How can utopia be made visible without fixing it?",[],[3534,101,3535,3536,3537,3538,3539,3540,3541,411,3542,2686,3543,3544,3545,3546,3547,3548,3549,3550,3551,1608,3552,1609,1637,2515,901,1612,2528,2535],"maled it! – body rebellion and flowing knowledge: drag kinging as a collective utopia & un/learning","how can drag kinging become a shared method for collective learning, unlearning, and knowledge production?\n\n","what knowledge is accessed when we step into alternative masculinities* and gender roles – and how can this be documented, shared, and opened up to others?","what can the body know that language cannot articulate?","what role does cultural memory play in embodied gender performance?","what does an archive of gestures look like?","how can utopia be made visible without fixing it?","click  it is simple. i need answers.","between berlin and bulgaria","this project explores drag kinging as a method of embodied, collective knowledge production. it is rooted in queer-feminist, anti-normative practices and unfolds through maled it! – a long-term workshop series i have been developing since 2018. maled it! empowers queer, trans*, non-binary and flinta* persons through drag as a form of joyful resistance and transformation.\n\n my interest within the school of commons lies in further developing drag kinging as a commons-based methodology for peer learning, critical play, and transdisciplinary research. the focus is not on performance as outcome, but on what becomes possible through the act of becoming someone else together – shifting norms, reclaiming agency, and imagining other futures through the body.","+++ soc gathering\n\njuly 3 - 5 in 2026 \n\n@zhdk zürich +++\n\n\n\n\n\nwelcome to drag king utopia: a collective rehearsal\n\nfor the next hour, i would like to invite you into a temporary experiment.\n\nbefore we begin, a few words about drag kings and masculinity*.\n\nmy name is marilyn nova or marilyn moustache.\n\ndrag kings are performers, artists, and researchers who explore masculinity* through embodiment, transformation, exaggeration, imitation, and play. rather than treating masculinity* as something natural or fixed, drag kinging approaches it as something that can be observed, learned, rehearsed, questioned, and reinvented.\n\nin this workshop, masculinity* is not understood as something that belongs to men.\n\ninstead, i invite us to think of masculinity* as a collection of gestures, behaviours, postures, expectations, fantasies, privileges, vulnerabilities, and ways of relating to others. some of these we inherit. some we resist. some we consciously choose. others we may still need to invent.\n\nmy interest is not in defining what masculinity* is or teaching you how to become a drag king.\n\nmy interest is in asking:\n\nhow does masculinity* move through bodies?\nhow is it learned?\nhow is it performed?\nhow can it be transformed?\n\nand i am interested in the knowledge that lives in our bodies.\n\nthe knowledge we inherit.\nthe knowledge we perform.\nthe knowledge we resist.\nthe knowledge we pass on to others without even noticing.\n\ntoday, we will use drag kinging not as a performance genre, but as a research tool.\n\nrecently, two terms have been accompanying my research: body rebellion and flowing knowledge.\n\nbody rebellion makes me wonder:\nwhere does resistance live in the body?\nwhat parts of ourselves have learned to adapt?\nwhat parts still refuse?\n\nflowing knowledge makes me wonder:\nhow does knowledge travel?\nwhat happens when it moves from one body to another?\nwhat changes along the way?\nwhat gets lost?\nwhat gets invented?\n\nfor the next hour, i would like us to approach these questions together.\n\nyou will be invited to write, move, observe, speak, imagine, and perhaps try on a beard.\n\nyou don't need any previous experience with drag.\nyou don't need to perform.\nyou don't need to know the right answer.\n\ni am not looking for expertise.\ni am looking for traces.\n\ntraces of knowledge.\ntraces of rebellion.\ntraces of transformation.\n\ntogether, we will create a temporary drag king utopia: not a perfect place, but a space where other ways of being can be rehearsed.\n\nlet's begin.","the knowledge exchange\n\n\n\ncover\n\n+++ what knowledge lives in your body? knowledge travels. from body to body. think of a skill, habit, gesture, survival strategy or piece of knowledge that has shaped you. +++","page 1 & 2\n\n+++ which parts of the body symbolise rebellion?\n\nwhich ones symbolise conformity(anpassung)? +++","drag king utopia census\n\n+++ i learned masculinity* from +++","the hangers remain empty\n\n+++ what are you wearing even when nobody sees it? +++","page 3\n\n+++ r  eflection +++","whisper\n\nwhisper\n\nwhisper\n\nwhisper\n\n\n\nwho you could become.\n\n\n\n+++ rehearsal end +++","diddy \n\ndaddy","methods for knowledge decentralisation",{"metaDescription":7,"metaTitle":3554,"shareImage":7},"MALED IT! 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Together, we approach bio-cultural practice through multiple lenses and foster dialogue among communities navigating ecosystem degradation, the erosion of cultural memory, and governance challenges—especially the marginalization of local knowledge in environmental governance.",[],[3599,3658,3693,3728,3755,3791],{"_id":3600,"_type":310,"activeYears":3601,"bio":3604,"bioShort":3613,"featuredImage":3614,"filterables":3622,"links":3625,"locations":3628,"searchables":3654,"seo":7,"slug":3656,"title":3615},"11ed1aa1-a0c2-4669-8551-8b0a3393cab9",[3602],{"_id":98,"_type":99,"seo":7,"slug":3603,"title":102},{"_type":9,"current":101},[3605],{"_key":3606,"_type":219,"children":3607,"markDefs":3612,"style":232},"23e5513d6366",[3608],{"_key":3609,"_type":223,"marks":3610,"text":3611},"ed8609a977280",[],"Chengwei is an artist from Sichuan, China, currently based in London. 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Her work unfolds through long-term attention to specific places and relationships.",{"alt":3615,"asset":3616},"Chengwei Xia",{"_id":3617,"height":3618,"orientation":492,"ratio":3619,"url":3620,"width":3621},"image-3236525d8907bb21de27c1b3a9bc0368906a502c-1024x1544-jpg",1544,0.6632124352331606,"https://cdn.sanity.io/images/eodip22e/production/3236525d8907bb21de27c1b3a9bc0368906a502c-1024x1544.jpg",1024,{"filterYear":3623},[3624],{"_id":98,"title":102},[3626],{"_type":396,"label":397,"url":3627},"https://chengweixia.com",{"locations":3629,"other":3637},[3630,3635],{"_id":3631,"_type":409,"seo":7,"slug":3632,"title":3634},"715d6004-576a-4e25-b9e4-5aee292263af",{"_type":9,"current":3633},"china","China",{"_id":408,"_type":409,"seo":7,"slug":3636,"title":412},{"_type":9,"current":411},[3638,3646],{"_key":3639,"_type":219,"children":3640,"markDefs":3645,"style":232},"d228b1fb3491",[3641],{"_key":3642,"_type":223,"marks":3643,"text":3644},"a941fa69b7be",[],"Sichuan",[],{"_key":3647,"_type":219,"children":3648,"markDefs":3653,"style":232},"ed74e1bbe28a",[3649],{"_key":3650,"_type":223,"marks":3651,"text":3652},"625f6bfbeef6",[],"London",[],[3655,101],"chengwei xia",{"_type":9,"current":3657},"chengwei-xia",{"_id":3659,"_type":310,"activeYears":3660,"bio":3663,"bioShort":3672,"featuredImage":3673,"filterables":3679,"links":7,"locations":3682,"searchables":3688,"seo":7,"slug":3690,"title":3692},"084e8179-6ffb-4e0e-802b-7326246863b8",[3661],{"_id":98,"_type":99,"seo":7,"slug":3662,"title":102},{"_type":9,"current":101},[3664],{"_key":3665,"_type":219,"children":3666,"markDefs":3671,"style":232},"b9b33e86273f",[3667],{"_key":3668,"_type":223,"marks":3669,"text":3670},"de5334e415b7",[],"Huiqiao (丘慧巧) is a social scientist who is interested in exploring art as a method to facilitate ethical and emancipatory knowledge production in relation to entanglement between human and more-than-human. My past initiatives include collaboration with other artists and practitioners, supported by local NGOs, aiming at facilitate residents' narratives around water, climate, food through applied theatre, participatory workshops, community-based events, and other participatory methods.    ",[],"Huiqiao (丘慧巧) is a social science researcher in Development Planning, examining how local practices and relationality could inform solutions toward socio-environmental challenges. ",{"alt":7,"asset":3674},{"_id":3675,"height":3676,"orientation":492,"ratio":493,"url":3677,"width":3678},"image-0b1aaf3f4eac28e64a82ab2767ff562e12a3ef09-1200x1600-jpg",1600,"https://cdn.sanity.io/images/eodip22e/production/0b1aaf3f4eac28e64a82ab2767ff562e12a3ef09-1200x1600.jpg",1200,{"filterYear":3680},[3681],{"_id":98,"title":102},{"locations":3683,"other":7},[3684,3686],{"_id":3631,"_type":409,"seo":7,"slug":3685,"title":3634},{"_type":9,"current":3633},{"_id":408,"_type":409,"seo":7,"slug":3687,"title":412},{"_type":9,"current":411},[3689,101],"huiqiao qiu",{"_type":9,"current":3691},"huiqiao-qiu","Huiqiao Qiu",{"_id":3694,"_type":310,"activeYears":3695,"bio":3698,"bioShort":3714,"featuredImage":3715,"filterables":3720,"links":7,"locations":7,"searchables":3723,"seo":7,"slug":3725,"title":3727},"b83c9754-5f08-4185-9577-b5377d849aa5",[3696],{"_id":98,"_type":99,"seo":7,"slug":3697,"title":102},{"_type":9,"current":101},[3699,3707],{"_key":3700,"_type":219,"children":3701,"markDefs":3706,"style":232},"1f1a677c6b3d",[3702],{"_key":3703,"_type":223,"marks":3704,"text":3705},"30c7c56e8a6a0",[],"Shuhao Lin (林树浩) is an advisor to the Haikou Duotan Wetland Research Institute; a member of the IUCN Horseshoe Crab Specialist Group; designer and editor of popular science books; freshwater fish surveys.",[],{"_key":3708,"_type":219,"children":3709,"markDefs":3713,"style":232},"0e27746ebfd8",[3710],{"_key":3711,"_type":223,"marks":3712,"text":369},"e8c6006a45f50",[],[],"An advisor to the Haikou Duotan Wetland Research Institute; a member of the IUCN Horseshoe Crab Specialist Group; designer and editor of popular science books; freshwater fish surveys.",{"alt":7,"asset":3716},{"_id":3717,"height":2694,"orientation":383,"ratio":3165,"url":3718,"width":3719},"image-a351d1c1f3c651456eda0da51c432710126bb822-1440x1080-jpg","https://cdn.sanity.io/images/eodip22e/production/a351d1c1f3c651456eda0da51c432710126bb822-1440x1080.jpg",1440,{"filterYear":3721},[3722],{"_id":98,"title":102},[3724,101],"shuhao lin",{"_type":9,"current":3726},"shuhao-lin","Shuhao Lin",{"_id":3729,"_type":310,"activeYears":3730,"bio":3733,"bioShort":3742,"featuredImage":3743,"filterables":3747,"links":7,"locations":7,"searchables":3750,"seo":7,"slug":3752,"title":3754},"35f6f048-410c-4e13-b8b6-f16d786d8a64",[3731],{"_id":98,"_type":99,"seo":7,"slug":3732,"title":102},{"_type":9,"current":101},[3734],{"_key":3735,"_type":219,"children":3736,"markDefs":3741,"style":232},"fae80c390296",[3737],{"_key":3738,"_type":223,"marks":3739,"text":3740},"7207c978a0c00",[],"Songzi is an independent writer who explores the relationship between people and nature in local communities, she uses interviews and writing to uncover local experiences and ecological knowledge. Her work has appeared in publications such as Huaxia Geography, Sixth Tone, and The Paper.",[],"Songzi (王松子) is an independent writer who explores the relationship between people and nature in local communities, she uses interviews and writing to uncover local experiences and ecological knowledge.  ",{"alt":7,"asset":3744},{"_id":3745,"height":2694,"orientation":383,"ratio":384,"url":3746,"width":1782},"image-e0cdc8d75788e290c6c9a6d5a3c2ed58beb6c4a5-1620x1080-jpg","https://cdn.sanity.io/images/eodip22e/production/e0cdc8d75788e290c6c9a6d5a3c2ed58beb6c4a5-1620x1080.jpg",{"filterYear":3748},[3749],{"_id":98,"title":102},[3751,101],"songzi wang",{"_type":9,"current":3753},"songzi-wang","Songzi Wang",{"_id":3756,"_type":310,"activeYears":3757,"bio":3760,"bioShort":3769,"featuredImage":3770,"filterables":3774,"links":7,"locations":3777,"searchables":3786,"seo":7,"slug":3788,"title":3790},"3cecc579-db08-466e-b0fa-9cfbff3a48f7",[3758],{"_id":98,"_type":99,"seo":7,"slug":3759,"title":102},{"_type":9,"current":101},[3761],{"_key":3762,"_type":219,"children":3763,"markDefs":3768,"style":232},"819274124582",[3764],{"_key":3765,"_type":223,"marks":3766,"text":3767},"e52286e6ed7d0",[],"Hello everyone, I'm Alan Tan (谭喜云), the former chief of Laoshi Village. With over 10 years of experience in architectural design and project management and 8 years of experience in community govermance and sustainable development. I'm thrilled to join SoC to explore how 'commoning' can reshape rural spaces and facilitate local residents.",[],"The former chief of Laoshi Village. With over 10 years of experience in architectural design and project management and 8 years of experience in community govermance and sustainable development. I'm thrilled to join SoC to explore how 'commoning' can reshape rural spaces and facilitate local residents.",{"alt":7,"asset":3771},{"_id":3772,"height":2234,"orientation":383,"ratio":384,"url":3773,"width":2697},"image-891814d7d73c8533fd2cfbbc7cb38c79eb859e8a-1920x1280-jpg","https://cdn.sanity.io/images/eodip22e/production/891814d7d73c8533fd2cfbbc7cb38c79eb859e8a-1920x1280.jpg",{"filterYear":3775},[3776],{"_id":98,"title":102},{"locations":3778,"other":7},[3779,3781],{"_id":3631,"_type":409,"seo":7,"slug":3780,"title":3634},{"_type":9,"current":3633},{"_id":3782,"_type":409,"seo":7,"slug":3783,"title":3785},"dd3e3abc-4ccb-4b7b-86ba-8bfeb7e4f9e4",{"_type":9,"current":3784},"north-america","North America",[3787,101],"xiyun tan",{"_type":9,"current":3789},"xiyun-tan","Xiyun Tan",{"_id":3792,"_type":310,"activeYears":7,"bio":3793,"bioShort":3802,"featuredImage":3803,"filterables":3810,"links":7,"locations":3811,"searchables":3815,"seo":7,"slug":3817,"title":3819},"6a919eb5-7e44-4958-b126-fca2cad37411",[3794],{"_key":3795,"_type":219,"children":3796,"markDefs":3801,"style":232},"9a85b435b75a",[3797],{"_key":3798,"_type":223,"marks":3799,"text":3800},"ab0bc32f3ca10",[],"Gu Qiu (顾秋) comes from an island of southern China. As a content creator whose primary mediums are photography and poetry, she focuses on community transformation and individual emotional memories—exploring how a place is remembered and how individuals navigate their own memories. She is currently working on a project involving image editing and self-curation: the “Bedside Solo Exhibition series—I Planted a Tree by My Bedside”.\n",[],"A content creator whose primary mediums are photography and poetry.\n",{"alt":7,"asset":3804},{"_id":3805,"height":3806,"orientation":492,"ratio":3807,"url":3808,"width":3809},"image-ab10dadfd5a4561f22b5440b8d8a18e036c064a2-1081x1619-jpg",1619,0.6676961087090797,"https://cdn.sanity.io/images/eodip22e/production/ab10dadfd5a4561f22b5440b8d8a18e036c064a2-1081x1619.jpg",1081,{"filterYear":7},{"locations":3812,"other":7},[3813],{"_id":3631,"_type":409,"seo":7,"slug":3814,"title":3634},{"_type":9,"current":3633},[3816],"gu qiu ",{"_type":9,"current":3818},"gu-qiu","Gu Qiu ",{"alt":3821,"asset":3822},"Mou Gan Project",{"_id":3823,"height":3824,"orientation":383,"ratio":3825,"url":3826,"width":3827},"image-afe1a59bfeb735e4c098fc50ff5fa02795505d0f-1256x960-jpg",960,1.3083333333333333,"https://cdn.sanity.io/images/eodip22e/production/afe1a59bfeb735e4c098fc50ff5fa02795505d0f-1256x960.jpg",1256,{"filterCategory":3829,"filterLocation":3834,"filterYear":3836},[3830,3831,3832,3833],{"_id":3562,"title":3567},{"_id":3569,"title":3574},{"_id":3576,"title":3581},{"_id":3583,"title":3587},[3835],{"_id":3631,"title":3634},[3837],{"_id":98,"title":102},[],{"locations":3840,"other":3843},[3841],{"_id":3631,"_type":409,"seo":7,"slug":3842,"title":3634},{"_type":9,"current":3633},[3844,3852],{"_key":3845,"_type":219,"children":3846,"markDefs":3851,"style":232},"d64b704ef06b",[3847],{"_key":3848,"_type":223,"marks":3849,"text":3850},"d86ba5bf3d510",[],"Laoshi village, the site of the project, is located in the western region of Hainan Island, the southernmost province of China. It sits near a harbour where seawater meets freshwater flowing down from the central mountains. This mingling of salt and fresh water sustains a rich local biodiversity, while also making possible the traditional livelihood of sea salt production, both historically and in the present.",[],{"_key":3853,"_type":219,"children":3854,"markDefs":3858,"style":232},"0edc0d749e13",[3855],{"_key":3856,"_type":223,"marks":3857,"text":369},"8950afb2312e",[],[],[3860,3868,3876,3884],{"_key":3861,"_type":219,"children":3862,"markDefs":3867,"style":232},"0b26908c6016",[3863],{"_key":3864,"_type":223,"marks":3865,"text":3866},"e3d7302fbc0c",[],"04/2026",[],{"_key":3869,"_type":219,"children":3870,"markDefs":3875,"style":232},"8af6bba90288",[3871],{"_key":3872,"_type":223,"marks":3873,"text":3874},"80db0447ab74",[],"Mou Gan Project emerges from the long-term cultivation of eco-cultural relations within the local community of Laoshi, in Danzhou, Hainan. The project centers situated and embodied knowledge, activated through local narratives, relational mapping, and forms of labor, alongside ongoing reflective dialogue. It seeks to recognize and foreground marginalized local knowledge within contemporary environmental governance.",[],{"_key":3877,"_type":219,"children":3878,"markDefs":3883,"style":232},"be0af8c3a28a",[3879],{"_key":3880,"_type":223,"marks":3881,"text":3882},"7e16eb06458c",[],"The project brings together community residents, scientists, social scientists/ethnographers, and artists. It also operates as a space of encounter between local culture, ecosystems, and diverse knowledge systems.",[],{"_key":3885,"_type":219,"children":3886,"markDefs":3891,"style":232},"5af0e18668b8",[3887],{"_key":3888,"_type":223,"marks":3889,"text":3890},"810e0afe6de4",[],"In April 2026, collective members Songzi, Shuhao, and Gu Qiu traveled to Laoshi to prepare for the upcoming Mapping and Sea Salt Farm School workshops in June. They engaged with local eco-cultural relations through transdisciplinary approaches, including river-centered walking practices attentive to encounters between human and more-than-human actors, photography, sea salt making, and the gathering of local narratives.",[],[3893,3913,3969,3984],{"_type":1447,"caption":3894,"image":3911},[3895,3903],{"_key":3896,"_type":219,"children":3897,"markDefs":3902,"style":232},"eb4f57a9a0bf",[3898],{"_key":3899,"_type":223,"marks":3900,"text":3901},"1ce40b196693",[],"Chengwei Xia | Estuary",[],{"_key":3904,"_type":219,"children":3905,"markDefs":3910,"style":232},"b819b76991ef",[3906],{"_key":3907,"_type":223,"marks":3908,"text":3909},"c3e88a120ffa",[],"walnut ink, Chinese ink, and watercolor on Nepalese mountain paper\n2025",[],{"alt":3821,"asset":3912},{"_id":3823,"height":3824,"orientation":383,"ratio":3825,"url":3826,"width":3827},{"_type":1451,"settings":3914,"text":3915},{"textColumnCount":1453},[3916,3924,3931,3939,3946,3954,3961],{"_key":3917,"_type":219,"children":3918,"markDefs":3923,"style":232},"af0ffba6e78b",[3919],{"_key":3920,"_type":223,"marks":3921,"text":3922},"383ea54054380",[],"In the local language of the rural community where our project is based, \"Mou Gan\" means the roots and trunk of a tree. The community is surrounded by a forest of tamarind trees planted by ancestors. These trees play a vital ecological role in preventing soil erosion along a local estuary that brings seawater to the village's salt farm which is essential to local livelihoods. By naming our project “Mou Gan,” we honour the ecological significance of these trees while expressing our wish for the project to be deeply rooted in local soil, nurtured by the community, and to provide shade and resources for the village while also extending our reach to a broader context.",[],{"_key":3925,"_type":219,"children":3926,"markDefs":3930,"style":232},"ce6cc5fd60e7",[3927],{"_key":3928,"_type":223,"marks":3929,"text":369},"191cdbafb5b30",[],[],{"_key":3932,"_type":219,"children":3933,"markDefs":3938,"style":232},"f0d179d1a38b",[3934],{"_key":3935,"_type":223,"marks":3936,"text":3937},"014da6943e8c0",[],"Our collective invites villagers and the public to explore the ecological and cultural life surrounding the major ecosystems of the village. Developed as a platform for co-learning bio-cultural connections, we aim to challenge top-down models of environmental governance that prioritize technocracy. We aim to center traditional knowledge, embodied experiences, and emotional connections as valid forms of environmental understanding. We follow three main trajectories: learning from local knowledge systems through embodied experiences, fostering collaborative practices via art, science, storytelling, and governance, and connecting this learning to broader environmental discourses.",[],{"_key":3940,"_type":219,"children":3941,"markDefs":3945,"style":232},"9348dfdd6f19",[3942],{"_key":3943,"_type":223,"marks":3944,"text":369},"1ae8e0ac1aee0",[],[],{"_key":3947,"_type":219,"children":3948,"markDefs":3953,"style":232},"c3d9d5acf88f",[3949],{"_key":3950,"_type":223,"marks":3951,"text":3952},"f6fbc156b7b80",[],"We will use participatory, interactive, and embodied approaches in two main activities: transect walks and salt-making. Transect walks along the local river will bring together residents, officials, planners, collective members, and others to move through and reflect on community spaces. We will hold mapping workshops to co-create participatory maps of ecological change, memory, and daily life. These maps will be shared both in the village and on our digital platform, forming a living archive. We will also launch a Seasalt Farm School, where participants will learn salt-making from local salt farmers and the environment itself—reading tides, sunlight, and weather. This labor fosters intimate, bodily relationships with place and reframes knowledge as something lived, sensed, and shared.",[],{"_key":3955,"_type":219,"children":3956,"markDefs":3960,"style":232},"38aef5a11375",[3957],{"_key":3958,"_type":223,"marks":3959,"text":369},"163c4d4ac46a0",[],[],{"_key":3962,"_type":219,"children":3963,"markDefs":3968,"style":232},"100c6fc73d17",[3964],{"_key":3965,"_type":223,"marks":3966,"text":3967},"255ec18b5f600",[],"These activities support eco-centered, embodied knowledge as an essential part of environmental governance. They also offer spaces for local people to collectively revisit bio-cultural memory and activate their stewardship with nature and place.",[],{"_type":1447,"caption":3970,"image":3979},[3971],{"_key":3972,"_type":219,"children":3973,"markDefs":3978,"style":232},"aad38a7e2776",[3974],{"_key":3975,"_type":223,"marks":3976,"text":3977},"26689d6236fd",[],"Shuhao Lin | May prosperity to the boat @ Haitou",[],{"alt":7,"asset":3980},{"_id":3981,"height":2697,"orientation":383,"ratio":384,"url":3982,"width":3983},"image-c759cba4869440947efb7d2b7b1aaacd1557f601-2880x1920-jpg","https://cdn.sanity.io/images/eodip22e/production/c759cba4869440947efb7d2b7b1aaacd1557f601-2880x1920.jpg",2880,{"_type":1447,"caption":3985,"image":3994},[3986],{"_key":3987,"_type":219,"children":3988,"markDefs":3993,"style":232},"9af471107615",[3989],{"_key":3990,"_type":223,"marks":3991,"text":3992},"4582fcd24d56",[],"Gu Qiu | Light on a fish boat",[],{"alt":7,"asset":3995},{"_id":3996,"height":2697,"orientation":492,"ratio":3997,"url":3998,"width":3999},"image-3dfbb3f546022c25481ba93c152063d31accd6c8-1279x1920-jpg",0.6661458333333333,"https://cdn.sanity.io/images/eodip22e/production/3dfbb3f546022c25481ba93c152063d31accd6c8-1279x1920.jpg",1279,[4001,4011,4021,4031,4041],{"_type":1559,"question":4002},[4003],{"_key":4004,"_type":219,"children":4005,"markDefs":4010,"style":232},"37d469a42232",[4006],{"_key":4007,"_type":223,"marks":4008,"text":4009},"2570d1f537ee0",[],"To push the boundary of knowledge and challenge the knowledge politics behind environmental governance, we proposed three key questions to understand and engage with the village’s bio-cultural history and its present as a living entanglement of the biosphere, local traditions, foodways, beliefs, and the interactions between human and non-human entities:",[],{"_type":1559,"question":4012},[4013],{"_key":4014,"_type":219,"children":4015,"markDefs":4020,"style":232},"b72cedfec8e6",[4016],{"_key":4017,"_type":223,"marks":4018,"text":4019},"505ecc9c67cd",[],"1. How do residents culturally and socially shape the relationships between ecological systems and community life in their everyday practices?",[],{"_type":1559,"question":4022},[4023],{"_key":4024,"_type":219,"children":4025,"markDefs":4030,"style":232},"389525d37511",[4026],{"_key":4027,"_type":223,"marks":4028,"text":4029},"dbdc79fe58a0",[],"2. What collaborative actions can we take—through art, science, storytelling, and governance—that nurture, restore, or reimagine the connections between local ecologies and culture?",[],{"_type":1559,"question":4032},[4033],{"_key":4034,"_type":219,"children":4035,"markDefs":4040,"style":232},"121929438239",[4036],{"_key":4037,"_type":223,"marks":4038,"text":4039},"4c2bbbb819aa",[],"3. How does learning from a specific local knowledge system and its practices inform our understanding of knowledge production and governance in a broader context?",[],{"_type":1559,"question":4042},[4043],{"_key":4044,"_type":219,"children":4045,"markDefs":4050,"style":232},"692cf9f8b948",[4046],{"_key":4047,"_type":223,"marks":4048,"text":4049},"edd2aecfbd94",[],"Like the growth of a tamarind tree, the first question serves as the root, firmly grasping the local context and allowing us to thoroughly study the local system. The second question represents the trunk, linking the roots to the branches and facilitating exchanges between the local environment and the outside world. The third question embodies the branches and foliage, illustrating how our project extends to a wider context, responding to governance crisis beyond our village.",[],[4052,101,4053,4054,4055,4056,4057,4058,3633,4059,3655,3689,3724,3751,3787,3816,4060,4061,4062,4063,4064,4065],"mou gan project","to push the boundary of knowledge and challenge the knowledge politics behind environmental governance, we proposed three key questions to understand and engage with the village’s bio-cultural history and its present as a living entanglement of the biosphere, local traditions, foodways, beliefs, and the interactions between human and non-human entities:","1. how do residents culturally and socially shape the relationships between ecological systems and community life in their everyday practices?","2. what collaborative actions can we take—through art, science, storytelling, and governance—that nurture, restore, or reimagine the connections between local ecologies and culture?","3. how does learning from a specific local knowledge system and its practices inform our understanding of knowledge production and governance in a broader context?","like the growth of a tamarind tree, the first question serves as the root, firmly grasping the local context and allowing us to thoroughly study the local system. the second question represents the trunk, linking the roots to the branches and facilitating exchanges between the local environment and the outside world. the third question embodies the branches and foliage, illustrating how our project extends to a wider context, responding to governance crisis beyond our village.","04/2026\n\nmou gan project emerges from the long-term cultivation of eco-cultural relations within the local community of laoshi, in danzhou, hainan. the project centers situated and embodied knowledge, activated through local narratives, relational mapping, and forms of labor, alongside ongoing reflective dialogue. it seeks to recognize and foreground marginalized local knowledge within contemporary environmental governance.\n\nthe project brings together community residents, scientists, social scientists/ethnographers, and artists. it also operates as a space of encounter between local culture, ecosystems, and diverse knowledge systems.\n\nin april 2026, collective members songzi, shuhao, and gu qiu traveled to laoshi to prepare for the upcoming mapping and sea salt farm school workshops in june. they engaged with local eco-cultural relations through transdisciplinary approaches, including river-centered walking practices attentive to encounters between human and more-than-human actors, photography, sea salt making, and the gathering of local narratives.","laoshi village, the site of the project, is located in the western region of hainan island, the southernmost province of china. it sits near a harbour where seawater meets freshwater flowing down from the central mountains. this mingling of salt and fresh water sustains a rich local biodiversity, while also making possible the traditional livelihood of sea salt production, both historically and in the present.\n\n","about our collective: our transdisciplinary team includes a community leader, artists, a social science researcher, an ethnographic writer and an environmental expert. together, we approach bio-cultural practice through multiple lenses and foster dialogue among communities navigating ecosystem degradation, the erosion of cultural memory, and governance challenges—especially the marginalization of local knowledge in environmental governance.","in the local language of the rural community where our project is based, \"mou gan\" means the roots and trunk of a tree. the community is surrounded by a forest of tamarind trees planted by ancestors. these trees play a vital ecological role in preventing soil erosion along a local estuary that brings seawater to the village's salt farm which is essential to local livelihoods. by naming our project “mou gan,” we honour the ecological significance of these trees while expressing our wish for the project to be deeply rooted in local soil, nurtured by the community, and to provide shade and resources for the village while also extending our reach to a broader context.\n\n\n\nour collective invites villagers and the public to explore the ecological and cultural life surrounding the major ecosystems of the village. developed as a platform for co-learning bio-cultural connections, we aim to challenge top-down models of environmental governance that prioritize technocracy. we aim to center traditional knowledge, embodied experiences, and emotional connections as valid forms of environmental understanding. we follow three main trajectories: learning from local knowledge systems through embodied experiences, fostering collaborative practices via art, science, storytelling, and governance, and connecting this learning to broader environmental discourses.\n\n\n\nwe will use participatory, interactive, and embodied approaches in two main activities: transect walks and salt-making. transect walks along the local river will bring together residents, officials, planners, collective members, and others to move through and reflect on community spaces. we will hold mapping workshops to co-create participatory maps of ecological change, memory, and daily life. these maps will be shared both in the village and on our digital platform, forming a living archive. we will also launch a seasalt farm school, where participants will learn salt-making from local salt farmers and the environment itself—reading tides, sunlight, and weather. this labor fosters intimate, bodily relationships with place and reframes knowledge as something lived, sensed, and shared.\n\n\n\nthese activities support eco-centered, embodied knowledge as an essential part of environmental governance. they also offer spaces for local people to collectively revisit bio-cultural memory and activate their stewardship with nature and place.","walking together along your river","seasalt farm school","embodied knowledge","geography of becoming",{"_type":9,"current":4067},"mou-gan-project",{"_id":4069,"_type":838,"categories":4070,"credits":4122,"featuredImage":4296,"filterables":4300,"footnotes":4316,"locations":4317,"logbook":7,"pageBuilder":7,"researchQuestion":7,"researchQuestions":4323,"searchables":4334,"seo":7,"slug":4341,"title":4343,"year":102},"15e2ba21-5243-4317-8cba-acfe813bb778",[4071,4074,4081,4088,4095,4098,4105,4108,4115],{"_id":1633,"_type":293,"colorPrimary":4072,"seo":7,"slug":4073,"title":1638},{"label":295,"value":1635},{"_type":9,"current":1637},{"_id":4075,"_type":293,"colorPrimary":4076,"seo":7,"slug":4078,"title":4080},"97fe4b0c-e89b-4f9e-a503-b6b176c3ede0",{"label":295,"value":4077},"#00ffa5",{"_type":9,"current":4079},"commons-based-methods-and-practices","Commons-based methods and 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Practices",{"_id":4116,"_type":293,"colorPrimary":4117,"seo":7,"slug":4119,"title":4121},"e54d43e0-43e4-4813-8bc6-15bd3904a9f2",{"label":295,"value":4118},"#00ffb9",{"_type":9,"current":4120},"commoning","Commoning",{"other":7,"profiles":4123},[4124,4153],{"_id":4125,"_type":310,"activeYears":4126,"bio":4129,"bioShort":4138,"featuredImage":7,"filterables":4139,"links":7,"locations":4142,"searchables":4148,"seo":7,"slug":4150,"title":4152},"68a1fc56-d126-4c65-856f-503440ac84cb",[4127],{"_id":98,"_type":99,"seo":7,"slug":4128,"title":102},{"_type":9,"current":101},[4130],{"_key":4131,"_type":219,"children":4132,"markDefs":4137,"style":232},"0bac316d45f1",[4133],{"_key":4134,"_type":223,"marks":4135,"text":4136},"4b1fa4a516950",[],"Rok Kranjc is a researcher and artist working with games and performative methods as engines for networked post-capitalist imagination. He holds a BA in Sociology and an MSc in Environmental Governance. He is president of the Crypto Commons Association, founder of Futurescraft, and collaborates regularly with the P2P Foundation, Aksioma – Institute for Contemporary Art, Maska Institute, Krater Collective, ŠUM Journal and others. His work has been presented at the The Seashore of Endless Worlds (Geneva, 2023), panke.gallery (Berlin, 2023), the International Computer Arts Festival (Maribor, 2024), and in Ljubljana at the Museum of Modern Art (2025) and the Museum of Contemporary Art Metelkova (2025). He participated with Game-Changers: The Game in Aksioma’s U30+ programme (2022) and Akademie Schloss Solitude’s Polymorphic Futures residency (2026), and developed Future 14b (2023–2025) through Maska Institute’s Yugofuturism programme.",[],"Rok is a researcher and artist working with games and performative methods as engines for networked post-capitalist imagination. With a background in sociology and political ecology, he leads and collaborates with initiatives including the Crypto Commons Association, Futurescraft, Aksioma, Maska Institute, and the P2P Foundation.",{"filterYear":4140},[4141],{"_id":98,"title":102},{"locations":4143,"other":7},[4144,4146],{"_id":408,"_type":409,"seo":7,"slug":4145,"title":412},{"_type":9,"current":411},{"_id":1962,"_type":409,"seo":7,"slug":4147,"title":1963},{"_type":9,"current":1971},[4149,101],"\u2028rok kranjc",{"_type":9,"current":4151},"rok-kranjc","\u2028Rok Kranjc",{"_id":4154,"_type":310,"activeYears":4155,"bio":4158,"bioShort":4263,"featuredImage":4264,"filterables":4270,"links":4273,"locations":4280,"searchables":4291,"seo":7,"slug":4293,"title":4295},"fd19b32d-d5a9-4696-8da8-712f00c2e8f3",[4156],{"_id":98,"_type":99,"seo":7,"slug":4157,"title":102},{"_type":9,"current":101},[4159,4167,4174,4248,4255],{"_key":4160,"_type":219,"children":4161,"markDefs":4166,"style":232},"4f66911883fe",[4162],{"_key":4163,"_type":223,"marks":4164,"text":4165},"40b0a554a0280",[],"Pablo (Mexico City, 1992) works as a designer, programmer and artist creating ambiguous software, generative systems, transmedia narratives, collaborative tactics and odd music. Their practice explores prefigurative politics, alternative economies, structural violence, decentralized technologies and the commons, while engaging with the politics of computation, language, value, time and games.",[],{"_key":4168,"_type":219,"children":4169,"markDefs":4173,"style":232},"fddbdd30d234",[4170],{"_key":4171,"_type":223,"marks":4172,"text":369},"bdcd6912f4ed",[],[],{"_key":4175,"_type":219,"children":4176,"markDefs":4235,"style":232},"827805d546bd",[4177,4181,4186,4190,4195,4199,4204,4208,4213,4217,4222,4226,4231],{"_key":4178,"_type":223,"marks":4179,"text":4180},"d4ce29ce5568",[],"Pablo is part of ",{"_key":4182,"_type":223,"marks":4183,"text":4185},"14ceaf4fa267",[4184],"31574e8f93eb","sudoraع",{"_key":4187,"_type":223,"marks":4188,"text":4189},"10083c8597ff",[]," A collective based in Bremen around sound, music and action. A core contributor to the ",{"_key":4191,"_type":223,"marks":4192,"text":4194},"44e7a5d599a6",[4193],"c3c17d44b425","Economic Space Agency (ECSA)",{"_key":4196,"_type":223,"marks":4197,"text":4198},"17888705cfaa",[]," an economic technology and imagination network for distributed economic agency . A participant in ",{"_key":4200,"_type":223,"marks":4201,"text":4203},"c5f760d6ae3d",[4202],"491123083bfa","XORG",{"_key":4205,"_type":223,"marks":4206,"text":4207},"2288eaa3d263",[]," a collective playing at the intersection of games and organizations . Half of the duo ",{"_key":4209,"_type":223,"marks":4210,"text":4212},"ab365ccf3c62",[4211],"3eb1cc78e315","Actual Occasions",{"_key":4214,"_type":223,"marks":4215,"text":4216},"9513b273f608",[]," An ongoing sound & distribution exploratory practice inspired by philosophies of affect, materiality and modulation. 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Tamayo CDMX, Centro Cultural Tlatelolco, Spedition Bremen Deichtorhallen Hamburg, STRP Festival Eindhoven, Panke Gallery Berlin, Matadero Medialab Madrid and MFRU International Festival for Computer Arts, Maribor among others.",[],"Pablo's practice explores prefigurative politics, alternative economies, structural violence, decentralized technologies and the commons, while engaging with the politics of computation, language, value, time and games.",{"alt":4265,"asset":4266},"Ambiguous human figure walking down a colorful street",{"_id":4267,"height":1344,"orientation":492,"ratio":4268,"url":4269,"width":779},"image-a2d91cb3721955cdd228159b607a0bf75a614075-750x1115-jpg",0.672645739910314,"https://cdn.sanity.io/images/eodip22e/production/a2d91cb3721955cdd228159b607a0bf75a614075-750x1115.jpg",{"filterYear":4271},[4272],{"_id":98,"title":102},[4274,4277],{"_type":396,"label":4275,"url":4276},"personal website","https://pablo.sx/",{"_type":396,"label":4278,"url":4279},"instagram 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can speculative design, worlding, and LARPing function as hyperstitional tools to build shared, self-sustaining fiction commons for prefigurative politics and collective economic experimentation?",[],[4335,101,4336,411,4337,4149,4292,1637,4338,4339,4093,2515,4103,2355,4340,4120],"peerticipatory worldplay","how can speculative design, worlding, and larping function as hyperstitional tools to build shared, self-sustaining fiction commons for prefigurative politics and collective economic experimentation?","central america","commons-based methods and practices","live action role-playing (larp)","self-organised practices",{"_type":9,"current":4342},"peerticipatory-worldplay","Peerticipatory 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Her practice explores artistic labour, cultural institutions, precarity, institutional critique, activism, and feminism. She holds a BA from the Athens School of Fine Arts and Master's degrees from Panteion University and Utrecht University. ",[],{"_key":4380,"_type":219,"children":4381,"markDefs":4395,"style":232},"b795f263e3be",[4382,4386,4391],{"_key":4383,"_type":223,"marks":4384,"text":4385},"a8f61d8aaecd",[],"Since 2019, she has been a member of the ",{"_key":4387,"_type":223,"marks":4388,"text":4390},"b2c0f71b681c",[4389],"9da6324f2a78","Center of New Media and Feminist Public Practices",{"_key":4392,"_type":223,"marks":4393,"text":4394},"e52e03a8a670",[],". 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",[],{"_key":4536,"_type":219,"children":4537,"markDefs":4558,"style":232},"5b7bfefa2c24",[4538,4542,4546,4550,4554],{"_key":4539,"_type":223,"marks":4540,"text":4541},"c649a14d8a92",[],"The work is built around through two complementary methodologies. ",{"_key":4543,"_type":223,"marks":4544,"text":4545},"a23e38b353c71",[663],"Commoning as Infrastructure",{"_key":4547,"_type":223,"marks":4548,"text":4549},"a23e38b353c72",[]," experiments with speculative instituting, co-learning sessions and shared meals, creating moments of encounter that extend mobility beyond elite or exclusive circuits. These gatherings become micro-infrastructures of solidarity, small but potent interventions that disrupt institutional rhythms, expectations, and logics of productivity. 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Her practice is rooted in storytelling, using drawing as a way to observe, record, and make sense of the worlds she moves through. Working across oil painting, oil pastel, and pencil, she creates meditative works shaped by close attention to landscape, memory, and everyday encounters.",[],{"_key":4676,"_type":219,"children":4677,"markDefs":4682,"style":232},"688f679a08a6",[4678],{"_key":4679,"_type":223,"marks":4680,"text":4681},"8bf4fa7725450",[],"Journaling is central to her process. Through walking, collecting, and observational drawing, she develops a body of visual research that informs her larger works and ongoing enquiries into the stories of ecology, place, and community and their in-betweens. 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At its core is an interest in relationality: how humans, animals, plants, objects, and technologies come into meaningful contact, and what becomes possible when we widen our understanding of perception and belonging.",[],{"_key":4793,"_type":219,"children":4794,"markDefs":4798,"style":232},"b7a9da160adb",[4795],{"_key":4796,"_type":223,"marks":4797,"text":369},"bb5cb237ad14",[],[],{"_key":4800,"_type":219,"children":4801,"markDefs":4806,"style":232},"19344eccc5d3",[4802],{"_key":4803,"_type":223,"marks":4804,"text":4805},"a4bcbc13a6d7",[],"The Owl House is a learning and community space in Aldona, Goa, for neurodivergent individuals, creating room for alternative rhythms of learning, expression, and 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can ecological engagement be made accessible without reducing its complexity?",[],{"_key":4840,"_type":219,"children":4841,"markDefs":4845,"style":232},"c0ece26db90d",[4842],{"_key":4843,"_type":223,"marks":4844,"text":369},"1806b5a01f240",[],[],{"_type":1559,"question":4847},[4848,4856],{"_key":4849,"_type":219,"children":4850,"markDefs":4855,"style":232},"c0d86c3e4655",[4851],{"_key":4852,"_type":223,"marks":4853,"text":4854},"1221acd48f99",[],"How do neurodivergent modes of perception reconfigure what it means to relate to an environment?",[],{"_key":4857,"_type":219,"children":4858,"markDefs":4862,"style":232},"c52cc8c87490",[4859],{"_key":4860,"_type":223,"marks":4861,"text":369},"b9a21b855a68",[],[],{"_type":1559,"question":4864},[4865],{"_key":4866,"_type":219,"children":4867,"markDefs":4872,"style":232},"8128f9d8f35a",[4868],{"_key":4869,"_type":223,"marks":4870,"text":4871},"5302f492a07d0",[],"What constitutes relationality across human, technological, material, and ecological 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Such metaphors do not merely serve as illustrations; they actively structure perception, thought, and the production of knowledge.",[],{"_key":5110,"_type":219,"children":5111,"markDefs":5116,"style":232},"c5d05baf1adb",[5112],{"_key":5113,"_type":223,"marks":5114,"text":5115},"9f4cc9e650630",[],"This thesis investigates spatial images and metaphors as epistemic tools at the intersection of art and science. It explores how different disciplines employ spatial figures of thought to organize knowledge and what happens when these distinct ways of thinking encounter one another within a shared setting.",[],{"_key":5118,"_type":219,"children":5119,"markDefs":5131,"style":232},"de074592a139",[5120,5124,5127],{"_key":5121,"_type":223,"marks":5122,"text":5123},"ed80b38d9ea10",[],"Methodologically, the project combines two levels of inquiry. First, it includes the conception and realization of the symposium and exhibition ",{"_key":5125,"_type":223,"marks":5126,"text":5088},"ed80b38d9ea11",[663],{"_key":5128,"_type":223,"marks":5129,"text":5130},"ed80b38d9ea12",[],", understood as a curatorial and scenographic experimental arrangement. Second, it draws on a qualitative analysis of the contributions, conversations, and materials that emerged from this event.",[],{"_key":5133,"_type":219,"children":5134,"markDefs":5147,"style":232},"c002ea205250",[5135,5139,5143],{"_key":5136,"_type":223,"marks":5137,"text":5138},"37445198402b0",[],"From this investigation, a glossary of nineteen ",{"_key":5140,"_type":223,"marks":5141,"text":5142},"37445198402b1",[225],"spatial metaphors",{"_key":5144,"_type":223,"marks":5145,"text":5146},"37445198402b2",[]," was developed, including Archive, Atelier, Construction Site, Bridge, House, Labyrinth, Resonance Space, and Mirror. 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Its members are artists, researchers and activists whose work spans individual research, project-space curation and international collaboration. The association supports interdisciplinary projects that foster cross-border exchange in experimental contexts, drawing on an infrastructure that includes a project space, a biolab and a web server. Working largely within a postdigital framework, >top develops artistic forms and approaches that explore the interplay of the digital, the organic and the cultural — pointing toward a humanization of digital technologies. The association champions collaborations that advance dialogue and a diversity of artistic forms and attitudes, contributing to the development of civil society.",[],"Top – Association for the Promotion of Cultural Practice has been active in Berlin since 2002. Its members are artists, researchers and activists whose work spans individual research, project-space curation and international collaboration. 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It is envisaged as a collaborative research environment and public program dedicated to exploring commoning practices through the lens of architecture and spatial practice beyond disciplinary, geographic, and institutional boundaries. \n\nHow can we find zones of encounter, situated choreographies of commoning, across times and territories? \n\nThe series of public talks and encounters will bring together a diverse group of practitioners—architects, researchers, activists, and artists—who work at the intersections of commoning, community-based design, cultural heritage, and socio-ecological transformation. Through the sharing of research, practice, and stories, the formats developed through the series aim to uncover and speculate upon alternative architectural narratives that emerge from contested territories, peripheral geographies, and informal or collective spatial strategies. \n\nA red thread of questioning will ask: How can architectural and spatial practices respond to displacement, ecological crisis, and social marginalization and prefigure modes of dwelling in common across difference? What kinds of built environments and spatial imaginaries emerge from solidarity, memory, and repair? \n\nThe series, hosted at the artist-run project space of which we are members, will not just include public talks, but also screenings, workshops, roundtable discussions, and alternative happenings—crucially, an ethos of commoning will be embedded throughout the collective learning process, situated in place and the body, in attunement with non-human and non-industrial rhythms, we will invite the public collectivity to become co-researchers and co-protagonists of the documentary and forthcoming spatial narratives of commoning. We envisage that the program will engage with themes such as spatial practices of commoning, feminist urbanism, decolonial pedagogies, traditional construction techniques, the preservation of cultural heritage, and participatory restoration — alongside what evolves organically over the course of the year, shaped by the urgencies and contributions of its participants. \n\nContributors from various regions—including Turkey, Italy, Lebanon, Greece, New Zealand, and Germany—will bring lived experience and critical insights from their local contexts into shared dialogue. The series will culminate in a final public assembly and small exhibition at the artist-run project space of which we are part of inputs collated throughout the process.",[],[5422,101,411,5423,5376,5424,1608,5425],"spatial narratives of commoning: beyond geographies","based in berlin","spatial narratives of commoning: beyond geographies is a research project that will be facilitated by a duo who is part of a wider artist-run project space and association; each of who work respectively across spatial and artistic practice, research and pedagogy, commons and commoning. it is envisaged as a collaborative research environment and public program dedicated to exploring commoning practices through the lens of architecture and spatial practice beyond disciplinary, geographic, and institutional boundaries. \n\nhow can we find zones of encounter, situated choreographies of commoning, across times and territories? \n\nthe series of public talks and encounters will bring together a diverse group of practitioners—architects, researchers, activists, and artists—who work at the intersections of commoning, community-based design, cultural heritage, and socio-ecological transformation. through the sharing of research, practice, and stories, the formats developed through the series aim to uncover and speculate upon alternative architectural narratives that emerge from contested territories, peripheral geographies, and informal or collective spatial strategies. \n\na red thread of questioning will ask: how can architectural and spatial practices respond to displacement, ecological crisis, and social marginalization and prefigure modes of dwelling in common across difference? what kinds of built environments and spatial imaginaries emerge from solidarity, memory, and repair? \n\nthe series, hosted at the artist-run project space of which we are members, will not just include public talks, but also screenings, workshops, roundtable discussions, and alternative happenings—crucially, an ethos of commoning will be embedded throughout the collective learning process, situated in place and the body, in attunement with non-human and non-industrial rhythms, we will invite the public collectivity to become co-researchers and co-protagonists of the documentary and forthcoming spatial narratives of commoning. we envisage that the program will engage with themes such as spatial practices of commoning, feminist urbanism, decolonial pedagogies, traditional construction techniques, the preservation of cultural heritage, and participatory restoration — alongside what evolves organically over the course of the year, shaped by the urgencies and contributions of its participants. \n\ncontributors from various regions—including turkey, italy, lebanon, greece, new zealand, and germany—will bring lived experience and critical insights from their local contexts into shared dialogue. the series will culminate in a final public assembly and small exhibition at the artist-run project space of which we are part of inputs collated throughout the process.","gemeinnützigkeit",{"_type":9,"current":5427},"spatial-narratives-of-commoning-beyond-geographies","Spatial Narratives of Commoning: Beyond Geographies",{"_id":5430,"_type":838,"categories":7,"credits":5431,"featuredImage":5828,"filterables":5831,"footnotes":5836,"locations":5837,"logbook":7,"pageBuilder":5841,"researchQuestion":7,"researchQuestions":5868,"searchables":5899,"seo":7,"slug":5905,"title":5907,"year":102},"2762c232-0a73-4155-8fb3-7a6f157e2e41",{"other":7,"profiles":5432},[5433,5543,5698,5779],{"_id":5434,"_type":310,"activeYears":5435,"bio":5438,"bioShort":5518,"featuredImage":5519,"filterables":5526,"links":5529,"locations":5537,"searchables":5541,"seo":7,"slug":5542,"title":5445},"f0598e03-ce47-47b6-a7fd-e9c5143157b2",[5436],{"_id":98,"_type":99,"seo":7,"slug":5437,"title":102},{"_type":9,"current":101},[5439,5451,5458,5470,5482,5490,5498,5506],{"_key":5440,"_type":219,"children":5441,"markDefs":5450,"style":232},"aad36a45c241",[5442,5446],{"_key":5443,"_type":223,"marks":5444,"text":5445},"18893a15cb270",[663],"footnotes",{"_key":5447,"_type":223,"marks":5448,"text":5449},"bb9febbf95ed",[]," consist of Eliana Kirkcaldy, Johanna Ackva and Lotta Beckers who have met on a crossroad of intersecting curiosities for historical and contemporary languages of desire. Looking at (mostly female*) writing on longing, the erotic, one’s own and/or the lover’s body, we search for those moments in which (hetero)normative representations of desire are getting messed up, counterpointed and deprived of their power to shape relationships and intimacy.",[],{"_key":5452,"_type":219,"children":5453,"markDefs":5457,"style":232},"f402c2ee3d93",[5454],{"_key":5455,"_type":223,"marks":5456,"text":369},"0eece55c15c6",[],[],{"_key":5459,"_type":219,"children":5460,"markDefs":5469,"style":232},"473fe38ca849",[5461,5465],{"_key":5462,"_type":223,"marks":5463,"text":5464},"8034d6383cfe0",[225],"Johanna Ackva",{"_key":5466,"_type":223,"marks":5467,"text":5468},"8034d6383cfe1",[],"'s artistic practice revolves around the entanglements between so called physical and metaphysical movements. Her works address the mutual influences between body and thought, the living and the dead, the world and our perception of it. As a dance maker, teacher, author, and curator, she is mainly active in Berlin. In Uckermark, she is part of the team that runs Denk- und Produktionsort Libken. Johanna has realized various performances in Berlin, e.g. at Tanzfabrik and Vierte Welt. As part of a team of four, she's currently running the artistic residency Denk- und Produktionsort Libken in the region Uckermark.",[],{"_key":5471,"_type":219,"children":5472,"markDefs":5481,"style":232},"0175989b0f1c",[5473,5477],{"_key":5474,"_type":223,"marks":5475,"text":5476},"5c35c54a604d",[225],"Lotta Beckers",{"_key":5478,"_type":223,"marks":5479,"text":5480},"56a92497d7aa",[]," (she/they) lives in Berlin and works as a dramaturge and artist. She studied Applied Theatre Studies in University Gießen, Choreography and Dance at the Danish National School of Performing Arts in Copenhagen and holds an M.A. in European Media Studies from the University of Potsdam. She is part of the class for performative arts led by Anna Zett and Jule Flierl at Hochschule für Grafik und Buchkunst Leipzig (HGB). ",[],{"_key":5483,"_type":219,"children":5484,"markDefs":5489,"style":232},"1eb93b8ca1bb",[5485],{"_key":5486,"_type":223,"marks":5487,"text":5488},"4b0dabb3b809",[],"As a freelance dramaturge she works in dance and performance, as well as in documentary theatre. She is engaged in an ongoing collaboration with theatre director Noam Brusilovsky and costume and stage designer Magdalena Emmerig. She also collaborates closely as a dramaturge and sometimes performer with choreographer Deva Schubert.",[],{"_key":5491,"_type":219,"children":5492,"markDefs":5497,"style":232},"ee7c735b9fdd",[5493],{"_key":5494,"_type":223,"marks":5495,"text":5496},"10b2a81ec635",[],"Lotta’s own artistic research evolves around the entanglements of desire, affects and power – sometimes through archive research, often in collaborations, sometimes through solo work. The form of the work and the medium are always re-defined through the artistic engagement with a theme and the specific context in which it is realized. At the moment she is particularly curious about movement and text.",[],{"_key":5499,"_type":219,"children":5500,"markDefs":5505,"style":232},"8b38380535b1",[5501],{"_key":5502,"_type":223,"marks":5503,"text":5504},"54bc79021fb8",[],"In her artistic approach, she situates herself between the documentary and the poetic, the intimate and the public and searches for the historical and structural within personal feeling. Theory serves as a driving force in her work, encouraging new modes of perception and experience.",[],{"_key":5507,"_type":219,"children":5508,"markDefs":5517,"style":232},"b9efaebc0d88",[5509,5513],{"_key":5510,"_type":223,"marks":5511,"text":5512},"0ad8c6673cac0",[225],"Eliana Kirkcaldy ",{"_key":5514,"_type":223,"marks":5515,"text":5516},"0ad8c6673cac1",[],"studied contemporary dance and cultural studies in Cologne, Hildesheim, Porto and Berlin. Her research currently deals with questions around societal power structures and their effect on physical practices. She is furthermore interested in exploring collective working structures and has been part of the collective AnaConda am Ufer, currently she is part of Berlin based poetry collective Das Ad Hoc. Together with Vanessa Engelmann, Eliana is working on new translations of the writings of Colette Peignot, which will be published by Matthes & Seitz Berlin. Eliana is a member of the editorial board of literary magazine Berlin Review.",[],"footnotes consist of Eliana Kirkcaldy, Johanna Ackva and Lotta Beckers. The collective researches languages of desire and investigates writing as a means to mess up, counterpoint and subvert (hetero)normative representations of love, intimacy and the erotic.",{"alt":5520,"asset":5521},"splashed liquid on concrete floor, dispersed strawberries",{"_id":5522,"height":5523,"orientation":383,"ratio":5524,"url":5525,"width":2234},"image-4a3368892d8f2a7eb009fbb75ca9960b08d54824-1280x862-jpg",862,1.4849187935034802,"https://cdn.sanity.io/images/eodip22e/production/4a3368892d8f2a7eb009fbb75ca9960b08d54824-1280x862.jpg",{"filterYear":5527},[5528],{"_id":98,"title":102},[5530,5533,5535],{"_type":396,"label":5531,"url":5532},"Eliana Kirkcaldy","https://www.instagram.com/elianakirkcaldy/",{"_type":396,"label":5464,"url":5534},"https://www.instagram.com/johannaackva/",{"_type":396,"label":5476,"url":5536},"https://www.instagram.com/lott_lott_lott_/",{"locations":5538,"other":7},[5539],{"_id":408,"_type":409,"seo":7,"slug":5540,"title":412},{"_type":9,"current":411},[5445,101],{"_type":9,"current":5445},{"_id":5544,"_type":310,"activeYears":5545,"bio":5548,"bioShort":5661,"featuredImage":5662,"filterables":5670,"links":5673,"locations":5681,"searchables":5694,"seo":7,"slug":5696,"title":5464},"88aa7c21-25b5-43bf-bd42-23dd71af66d4",[5546],{"_id":98,"_type":99,"seo":7,"slug":5547,"title":102},{"_type":9,"current":101},[5549,5557,5626],{"_key":5550,"_type":219,"children":5551,"markDefs":5556,"style":232},"c42be418bfa0",[5552],{"_key":5553,"_type":223,"marks":5554,"text":5555},"e65cd299f6660",[],"Johanna (*1989, Berlin) lives and works in Berlin and in the Uckermark region. Her work draws from trans-disciplinary artistic research, performative practice, and anthropological methods. Alongside body- and movement-based approaches, conversations - with experts, strangers and friends alike - are central to Johanna's work. In her performative, textual, sculptural, and editorial projects, Johanna examines phenomena of individual experience as embedded within collectively shaped social, material, and affective lifeworlds - as moments of encounter in which self and world are continuously re-shaped. By foregrounding the processual and the porous, she connects phases of research, experimentation and production with those of public sharing.",[],{"_key":5558,"_type":219,"children":5559,"markDefs":5625,"style":232},"9828efbb56d4",[5560,5564,5568,5571,5575,5578,5582,5586,5590,5593,5597,5601,5605,5609,5613,5617,5621],{"_key":5561,"_type":223,"marks":5562,"text":5563},"86ad3d53b0530",[],"Since 2015, Johanna’s often collaboratively realised projects have engaged with themes such as labor and its value (",{"_key":5565,"_type":223,"marks":5566,"text":5567},"21650684b0d4",[663],"The Agreement",{"_key":5569,"_type":223,"marks":5570,"text":2567},"f2d4e53bb96a",[],{"_key":5572,"_type":223,"marks":5573,"text":5574},"8e20dd99fdaa",[663],"AG Arbeit",{"_key":5576,"_type":223,"marks":5577,"text":2567},"ddfeef72a887",[],{"_key":5579,"_type":223,"marks":5580,"text":5581},"397b3521c65d",[663],"They Ate Our Day",{"_key":5583,"_type":223,"marks":5584,"text":5585},"ce63bb770e80",[],"), mysticism and experiences of nature (",{"_key":5587,"_type":223,"marks":5588,"text":5589},"3d45b33a2289",[663],"Salt Lake",{"_key":5591,"_type":223,"marks":5592,"text":2567},"56921242a295",[],{"_key":5594,"_type":223,"marks":5595,"text":5596},"89aaba484db2",[663],"Zweitlandschaften",{"_key":5598,"_type":223,"marks":5599,"text":5600},"d153c7bfa06e",[],"), voice(s) and breath (",{"_key":5602,"_type":223,"marks":5603,"text":5604},"e333f22ed846",[663],"singalongs, High Fidelity, ~4E8A∞~",{"_key":5606,"_type":223,"marks":5607,"text":5608},"d3edd091cfcf",[],"), longing, intimacy and shame (",{"_key":5610,"_type":223,"marks":5611,"text":5612},"bd785370f76f",[663],"Women And Watery Men, wherever you are",{"_key":5614,"_type":223,"marks":5615,"text":5616},"b9bd599f2b61",[],"), as well as death, grief, and our relationship to the dead (",{"_key":5618,"_type":223,"marks":5619,"text":5620},"2226a6b95817",[663],"Clouds On Clear Sky, Grandmothers, aus dem was sprachfähig war, forever goodbye",{"_key":5622,"_type":223,"marks":5623,"text":5624},"99251399fa6b",[],").",[],{"_key":5627,"_type":219,"children":5628,"markDefs":5660,"style":232},"9d858cdf0b17",[5629,5633,5637,5641,5645,5649,5652,5656],{"_key":5630,"_type":223,"marks":5631,"text":5632},"2e6adc0ef05b0",[],"Alongside her artistic work, Johanna regularly teaches as a guest lecturer in the Studium Generale program at the Berlin University of the Arts. Together with Anna Zett and Marie DuPasquier, among others, she has curated and hosted various event series and projects such as the performative exhibition ",{"_key":5634,"_type":223,"marks":5635,"text":5636},"9bb2c5a6691d",[663],"Postindependent",{"_key":5638,"_type":223,"marks":5639,"text":5640},"20f20dbfc192",[],". Since 2019, she has been involved in shaping and curating ",{"_key":5642,"_type":223,"marks":5643,"text":5644},"a2e43ed98b37",[663],"Libken Denk- und Produktionsort",{"_key":5646,"_type":223,"marks":5647,"text":5648},"be72e496cd6c",[]," (Uckermark), since 2021 as part of its artistic leadership team. Most recently, she conceived and accompanied the interdisciplinary residency program",{"_key":5650,"_type":223,"marks":5651,"text":341},"8a2e8805bfa2",[225],{"_key":5653,"_type":223,"marks":5654,"text":5655},"85db9bcbfd43",[663],"into the fields",{"_key":5657,"_type":223,"marks":5658,"text":5659},"d0bd60e1ad1d",[],", which invited artists from rural regions in Poland, Germany, and the Czech Republic to work together.",[],"Johanna (*1989) is a trans-disciplinary artist, performer and writer based between Berlin and the Uckermark region.",{"alt":5663,"asset":5664},"Johanna Ackva, lying on the floor with their hands in an illuminated square on the floor.",{"_id":5665,"height":5666,"orientation":383,"ratio":5667,"url":5668,"width":5669},"image-52bf736fa657577cfc147f998abca5864b3c5fc1-1930x1432-png",1432,1.3477653631284916,"https://cdn.sanity.io/images/eodip22e/production/52bf736fa657577cfc147f998abca5864b3c5fc1-1930x1432.png",1930,{"filterYear":5671},[5672],{"_id":98,"title":102},[5674,5675,5678],{"_type":396,"label":403,"url":5534},{"_type":396,"label":5676,"url":5677},"Sounds","https://on.soundcloud.com/i9IpQ6BO0H9LChHlbD",{"_type":396,"label":5679,"url":5680},"Hosting ","https://libken.de/en/libken-home/",{"locations":5682,"other":5685},[5683],{"_id":408,"_type":409,"seo":7,"slug":5684,"title":412},{"_type":9,"current":411},[5686],{"_key":5687,"_type":219,"children":5688,"markDefs":5693,"style":232},"43aa3f522b70",[5689],{"_key":5690,"_type":223,"marks":5691,"text":5692},"949cfc34b018",[],"Berlin / Uckermark",[],[5695,101],"johanna ackva",{"_type":9,"current":5697},"johanna-ackva",{"_id":5699,"_type":310,"activeYears":5700,"bio":5703,"bioShort":5710,"featuredImage":5751,"filterables":5758,"links":5761,"locations":5763,"searchables":5775,"seo":7,"slug":5777,"title":5476},"193d30a6-5cfa-47b0-9283-eb923f080d48",[5701],{"_id":98,"_type":99,"seo":7,"slug":5702,"title":102},{"_type":9,"current":101},[5704,5712,5720,5728,5736],{"_key":5705,"_type":219,"children":5706,"markDefs":5711,"style":232},"eedb148a0825",[5707],{"_key":5708,"_type":223,"marks":5709,"text":5710},"72b240012e540",[],"Lotta (she/they) is a Berlin-based dramaturg and artist working across performance, dance, and documentary theatre. She’s into awkward presence, pathetic writing, slowness, cutting and feeling touched (by art). ",[],{"_key":5713,"_type":219,"children":5714,"markDefs":5719,"style":232},"09f687d22867",[5715],{"_key":5716,"_type":223,"marks":5717,"text":5718},"36f04cb94473",[],"With an academic background spanning applied theatre studies in Gießen, dance and choreography in Copenhagen, European media studies in Potsdam, and further development in the class for performative arts at the art academy in Leipzig, she combines theoretical insight with a strong interest in embodied practices.",[],{"_key":5721,"_type":219,"children":5722,"markDefs":5727,"style":232},"31a53cf2cba0",[5723],{"_key":5724,"_type":223,"marks":5725,"text":5726},"0baa065b9bb30",[],"Since many years, she is engaged in a collaboration with theatre director Noam Brusilovsky and costume and stage designer Magdalena Emmerig, developing research-based documentary theatre projects that interrogate power structures and explore the limits of representation on stage. Lotta also collaborates closely as a dramaturge and sometimes performer with choreographer Deva Schubert, whose voice-based dance performances explore the power of intimacy in social relations.",[],{"_key":5729,"_type":219,"children":5730,"markDefs":5735,"style":232},"b2910648add5",[5731],{"_key":5732,"_type":223,"marks":5733,"text":5734},"06bef23eebb10",[],"Her own artistic approach is situated between the documentary and the poetic, the intimate and the public and searches for the historical and structural within the personal feeling. Theory serves as a driving force in her work, encouraging new modes of perception and experience. At the moment she is particularly curious about choreography and text.",[],{"_key":5737,"_type":219,"children":5738,"markDefs":5750,"style":232},"b6fb4e989328",[5739,5743,5746],{"_key":5740,"_type":223,"marks":5741,"text":5742},"205ede0389230",[],"Together with Johanna Ackva and Eliana Kirkcaldy, she is part of ",{"_key":5744,"_type":223,"marks":5745,"text":5445},"205ede0389231",[663],{"_key":5747,"_type":223,"marks":5748,"text":5749},"205ede0389232",[],", dedicated to researching on ways of writing and performing desire.",[],{"alt":5752,"asset":5753},"Person with white shirt, silver chain, bangs, leaning against a blue curtain",{"_id":5754,"height":5755,"orientation":492,"ratio":5183,"url":5756,"width":5757},"image-cc495c43d27a457e2d9fa27e2b1ea16f4a7f8937-3648x5472-jpg",5472,"https://cdn.sanity.io/images/eodip22e/production/cc495c43d27a457e2d9fa27e2b1ea16f4a7f8937-3648x5472.jpg",3648,{"filterYear":5759},[5760],{"_id":98,"title":102},[5762],{"_type":396,"label":403,"url":5536},{"locations":5764,"other":5767},[5765],{"_id":408,"_type":409,"seo":7,"slug":5766,"title":412},{"_type":9,"current":411},[5768],{"_key":5769,"_type":219,"children":5770,"markDefs":5774,"style":232},"13efeacccf30",[5771],{"_key":5772,"_type":223,"marks":5773,"text":420},"1781c4745461",[],[],[5776,101],"lotta beckers",{"_type":9,"current":5778},"lotta-beckers",{"_id":5780,"_type":310,"activeYears":5781,"bio":5784,"bioShort":5809,"featuredImage":5810,"filterables":5815,"links":5818,"locations":5820,"searchables":5824,"seo":7,"slug":5826,"title":5531},"dd0fe01b-beb8-4b9f-9e8f-1d7b9bfaf654",[5782],{"_id":98,"_type":99,"seo":7,"slug":5783,"title":102},{"_type":9,"current":101},[5785],{"_key":5786,"_type":219,"children":5787,"markDefs":5808,"style":232},"42bdcf988f21",[5788,5792,5796,5800,5804],{"_key":5789,"_type":223,"marks":5790,"text":5791},"7fe7a065412b0",[],"Eliana Kirkcaldy is a writer and performer based in Berlin with a background in contemporary dance and cultural studies.\nShe is a founding member of ",{"_key":5793,"_type":223,"marks":5794,"text":5795},"f4686b6d873b",[663],"Berlin Review",{"_key":5797,"_type":223,"marks":5798,"text":5799},"323260f39a78",[]," magazine and part of the poetry collective ",{"_key":5801,"_type":223,"marks":5802,"text":5803},"7b65fce8592b",[663],"das ad hoc",{"_key":5805,"_type":223,"marks":5806,"text":5807},"419f8adb5192",[],". Currently, Eliana is working on a publication project on the French author Colette Peignot.\nIn recent years, she has conducted research on Kathy Acker and, more broadly, on language(s) and the articulation of desire together with Lotta Beckers and Johanna Ackva.",[],"Eliana Kirkcaldy is a Berlin-based writer and performer.",{"alt":5811,"asset":5812},"A person with brown hair tied up, wearing a black hoodie, sits outdoors in front of green, bushy plants, looking at the camera.",{"_id":5813,"height":5523,"orientation":383,"ratio":5524,"url":5814,"width":2234},"image-c2d77679d5819a559e7b341f8acde96c622f69d3-1280x862-jpg","https://cdn.sanity.io/images/eodip22e/production/c2d77679d5819a559e7b341f8acde96c622f69d3-1280x862.jpg",{"filterYear":5816},[5817],{"_id":98,"title":102},[5819],{"_type":396,"label":403,"url":5532},{"locations":5821,"other":7},[5822],{"_id":408,"_type":409,"seo":7,"slug":5823,"title":412},{"_type":9,"current":411},[5825,101],"eliana kirkcaldy",{"_type":9,"current":5827},"eliana-kirkcaldy",{"alt":5829,"asset":5830},"splashed liquid and disperced strawberries on concrete floor",{"_id":5522,"height":5523,"orientation":383,"ratio":5524,"url":5525,"width":2234},{"filterCategory":7,"filterLocation":5832,"filterYear":5834},[5833],{"_id":408,"title":412},[5835],{"_id":98,"title":102},[],{"locations":5838,"other":7},[5839],{"_id":408,"_type":409,"seo":7,"slug":5840,"title":412},{"_type":9,"current":411},[5842,5845],{"_type":1447,"caption":7,"image":5843},{"alt":7,"asset":5844},{"_id":5522,"height":5523,"orientation":383,"ratio":5524,"url":5525,"width":2234},{"_type":1451,"settings":5846,"text":5847},{"textColumnCount":1453},[5848],{"_key":5849,"_type":219,"children":5850,"markDefs":5867,"style":232},"77f47b65031c",[5851,5855,5859,5863],{"_key":5852,"_type":223,"marks":5853,"text":5854},"1dfe5f1b06a5",[225],"THE TEXT BITES ITS TONGUE",{"_key":5856,"_type":223,"marks":5857,"text":5858},"7eb81757b7ed",[]," is a trans-disciplinary collaborative research that seeks to investigate written and spoken languages of ",{"_key":5860,"_type":223,"marks":5861,"text":5862},"3cb5cb623f75",[663],"desire",{"_key":5864,"_type":223,"marks":5865,"text":5866},"63849e96f52e",[]," - understood as a messy field of ever changing coordinates in which sensuality, sexuality, intimacy and affect meet. At the centre of our research, language, the characteristics of its grammars, the comical and the attractiveness of text itself, play as much of a role as the visceral experience of what it seeks to describe and the unconscious which it fails to grasp. \n\nInside the gap between physical experience and text, between the mouth and the tongue that it speaks, we look for a motor to feel into and de-personalize “private” experience and to uncover structures of feelings. We are curious about in which language can transform the sensual, restricted, and libidinous body, whereby working with and through pain and shame is one important layer. ",[],[5869,5879,5889],{"_type":1559,"question":5870},[5871],{"_key":5872,"_type":219,"children":5873,"markDefs":5878,"style":232},"b4b7f6f32b9a",[5874],{"_key":5875,"_type":223,"marks":5876,"text":5877},"f02ca82ee84a0",[],"How can the experience of desire be transformed by commoning its languages?",[],{"_type":1559,"question":5880},[5881],{"_key":5882,"_type":219,"children":5883,"markDefs":5888,"style":232},"29eed527260a",[5884],{"_key":5885,"_type":223,"marks":5886,"text":5887},"c6eaf93b0a7f",[],"How does the writing and speaking of desire reveal its more-than-personal, structural, and social dimensions?",[],{"_type":1559,"question":5890},[5891],{"_key":5892,"_type":219,"children":5893,"markDefs":5898,"style":232},"dd5cf0deec0a",[5894],{"_key":5895,"_type":223,"marks":5896,"text":5897},"88f96aff1d8a",[],"How can we foster languages of desire as a way to search for a desirable world?",[],[5900,101,5901,5902,5903,411,5445,5695,5776,5825,5904],"the text bites its tongue","how can the experience of desire be transformed by commoning its languages?","how does the writing and speaking of desire reveal its more-than-personal, structural, and social dimensions?","how can we foster languages of desire as a way to search for a desirable world?","the text bites its tongue is a trans-disciplinary collaborative research that seeks to investigate written and spoken languages of desire - understood as a messy field of ever changing coordinates in which sensuality, sexuality, intimacy and affect meet. at the centre of our research, language, the characteristics of its grammars, the comical and the attractiveness of text itself, play as much of a role as the visceral experience of what it seeks to describe and the unconscious which it fails to grasp. \n\ninside the gap between physical experience and text, between the mouth and the tongue that it speaks, we look for a motor to feel into and de-personalize “private” experience and to uncover structures of feelings. we are curious about in which language can transform the sensual, restricted, and libidinous body, whereby working with and through pain and shame is one important layer. ",{"_type":9,"current":5906},"the-text-bites-its-tongue","The Text Bites Its Tongue",{"_id":5909,"_type":838,"categories":5910,"credits":5934,"featuredImage":6007,"filterables":6015,"footnotes":6026,"locations":6027,"logbook":7,"pageBuilder":6031,"researchQuestion":7,"researchQuestions":6102,"searchables":6160,"seo":7,"slug":6170,"title":6172,"year":102},"b36546ee-73c6-4bd1-a22a-c61d1e041a28",[5911,5914,5917,5924,5927],{"_id":848,"_type":293,"colorPrimary":5912,"seo":7,"slug":5913,"title":853},{"label":295,"value":850},{"_type":9,"current":852},{"_id":4621,"_type":293,"colorPrimary":5915,"seo":7,"slug":5916,"title":4626},{"label":295,"value":4623},{"_type":9,"current":4625},{"_id":5918,"_type":293,"colorPrimary":5919,"seo":7,"slug":5921,"title":5923},"1b458848-128f-4e90-acff-fe6c46232754",{"label":295,"value":5920},"#0095a4",{"_type":9,"current":5922},"climate-knowledge","Climate Knowledge",{"_id":869,"_type":293,"colorPrimary":5925,"seo":7,"slug":5926,"title":874},{"label":295,"value":871},{"_type":9,"current":873},{"_id":5928,"_type":293,"colorPrimary":5929,"seo":7,"slug":5931,"title":5933},"1940baa6-46af-4999-86f4-9abe7ce45b9d",{"label":295,"value":5930},"#dcdc00",{"_type":9,"current":5932},"spatial-forensics","Spatial Forensics",{"other":7,"profiles":5935},[5936],{"_id":5937,"_type":310,"activeYears":5938,"bio":5941,"bioShort":5974,"featuredImage":5975,"filterables":5981,"links":5984,"locations":5989,"searchables":6002,"seo":7,"slug":6004,"title":6006},"3b640bf7-7e68-4a63-afeb-f8f69732c79d",[5939],{"_id":98,"_type":99,"seo":7,"slug":5940,"title":102},{"_type":9,"current":101},[5942,5950,5958],{"_key":5943,"_type":219,"children":5944,"markDefs":5949,"style":232},"d5106e03a2cb",[5945],{"_key":5946,"_type":223,"marks":5947,"text":5948},"49be741cf4370",[],"Emidio is an Italian interdisciplinary artist and art director based in Milan. Trained in photography at ÉCAL in Lausanne, his practice examines how images, technologies, and infrastructures shape systems of power, visibility, memory, and ecological relation. Working across installation, image-making, AI, and computational tools, Battipaglia explores the moment in which images cease to simply represent the world and begin to organize perception, knowledge, and behavior.",[],{"_key":5951,"_type":219,"children":5952,"markDefs":5957,"style":232},"67aa39873526",[5953],{"_key":5954,"_type":223,"marks":5955,"text":5956},"358b6ab468600",[],"Through machine vision, data systems, and more-than-human intelligences, his work investigates the structures through which visibility, labour, memory, and extraction are produced. Bringing together physical materials, archival research, generative processes, and responsive environments, Battipaglia approaches technology not only as a tool, but as a material condition that shapes how bodies, environments, and histories are seen, measured, and made legible.",[],{"_key":5959,"_type":219,"children":5960,"markDefs":5973,"style":232},"f5630dd6af02",[5961,5965,5969],{"_key":5962,"_type":223,"marks":5963,"text":5964},"918e30673ec70",[],"Battipaglia’s work has been exhibited internationally. He received the Art Vontobel Contemporary Photography Prize 2023, ",{"_key":5966,"_type":223,"marks":5967,"text":5968},"918e30673ec71",[663],"A New Gaze",{"_key":5970,"_type":223,"marks":5971,"text":5972},"918e30673ec72",[],", and in 2026 has taken part in a residency programme developed by the Visual Arts Commission of Saudi Arabia’s Ministry of Culture.",[],"Emidio is an Italian interdisciplinary artist and art director. Trained in photography at ÉCAL in Lausanne, his practice examines how images, technologies, and infrastructures shape systems of power, visibility, memory, and ecological relation. ",{"alt":7,"asset":5976},{"_id":5977,"height":5978,"orientation":492,"ratio":780,"url":5979,"width":5980},"image-0d9abcee05ebdf6ef3a6e16df5110bec19ff4c5d-2652x3315-jpg",3315,"https://cdn.sanity.io/images/eodip22e/production/0d9abcee05ebdf6ef3a6e16df5110bec19ff4c5d-2652x3315.jpg",2652,{"filterYear":5982},[5983],{"_id":98,"title":102},[5985,5987],{"_type":396,"label":397,"url":5986},"https://www.emidiobattipaglia.com/",{"_type":396,"label":403,"url":5988},"https://www.instagram.com/emidiobattipaglia/",{"locations":5990,"other":5993},[5991],{"_id":408,"_type":409,"seo":7,"slug":5992,"title":412},{"_type":9,"current":411},[5994],{"_key":5995,"_type":219,"children":5996,"markDefs":6001,"style":232},"bcfaa2bc5d17",[5997],{"_key":5998,"_type":223,"marks":5999,"text":6000},"2a6ca935f352",[],"Based in Milan",[],[6003,101],"emidio battipaglia",{"_type":9,"current":6005},"emidio-battipaglia","Emidio Battipaglia",{"alt":6008,"asset":6009},"Ecology, Technology and Politics",{"_id":6010,"height":6011,"orientation":383,"ratio":6012,"url":6013,"width":6014},"image-76a09509fbe40b6f19def13b17f7cda06403d2fb-1672x941-png",941,1.7768331562167907,"https://cdn.sanity.io/images/eodip22e/production/76a09509fbe40b6f19def13b17f7cda06403d2fb-1672x941.png",1672,{"filterCategory":6016,"filterLocation":6022,"filterYear":6024},[6017,6018,6019,6020,6021],{"_id":848,"title":853},{"_id":4621,"title":4626},{"_id":5918,"title":5923},{"_id":869,"title":874},{"_id":5928,"title":5933},[6023],{"_id":408,"title":412},[6025],{"_id":98,"title":102},[],{"locations":6028,"other":7},[6029],{"_id":408,"_type":409,"seo":7,"slug":6030,"title":412},{"_type":9,"current":411},[6032,6043],{"_type":1447,"caption":6033,"image":6041},[6034],{"_key":6035,"_type":219,"children":6036,"markDefs":6040,"style":232},"a4fd60a6c153",[6037],{"_key":6038,"_type":223,"marks":6039,"text":6008},"13b144b0a4a80",[],[],{"alt":6008,"asset":6042},{"_id":6010,"height":6011,"orientation":383,"ratio":6012,"url":6013,"width":6014},{"_type":1451,"settings":6044,"text":6045},{"textColumnCount":1453},[6046,6054,6062,6070,6078,6086,6094],{"_key":6047,"_type":219,"children":6048,"markDefs":6053,"style":232},"3c447493eb65",[6049],{"_key":6050,"_type":223,"marks":6051,"text":6052},"5b70d5f9ed7f0",[],"To Command the Clouds Is to Own the Future is an artistic research project about control, territory, and invisible infrastructures. It investigates how contemporary power is no longer limited to the occupation of land, but extends into atmospheric, digital, algorithmic, and intimate realms.",[],{"_key":6055,"_type":219,"children":6056,"markDefs":6061,"style":232},"1d8614a9a41c",[6057],{"_key":6058,"_type":223,"marks":6059,"text":6060},"5856ad5435920",[],"The project begins from the double meaning of the cloud. The cloud is atmospheric: air, weather, climate, vapor, movement. But it is also digital: data centers, servers, networks, storage, computation. In both cases, the cloud appears immaterial and distant, yet it is deeply connected to infrastructure, extraction, energy, surveillance, and political power. To command the clouds means to control not only a physical environment, but the conditions through which life is predicted, organized, and governed.",[],{"_key":6063,"_type":219,"children":6064,"markDefs":6069,"style":232},"6ff2b382d3d9",[6065],{"_key":6066,"_type":223,"marks":6067,"text":6068},"3cd707b922600",[],"The project traces how older forms of territorial ambition are reappearing in new and less visible forms. The desire to control land is extended into the desire to control weather, airspace, satellites, data flows, algorithmic systems, and behavior. Power increasingly operates through prediction, optimization, automation, and command. It does not only draw borders on the ground; it creates invisible borders through infrastructures, protocols, permissions, and systems of access.",[],{"_key":6071,"_type":219,"children":6072,"markDefs":6077,"style":232},"1d8e4df66438",[6073],{"_key":6074,"_type":223,"marks":6075,"text":6076},"5d220fd5a1dd0",[],"Within this framework, refusal becomes a central gesture. Refusal is not understood as simple negation, but as a way of interrupting the logic of domination. To refuse is to question the assumption that everything must be measured, controlled, extracted, or made useful. It is a way to resist the transformation of shared, unstable, or intimate spaces into territories of command.",[],{"_key":6079,"_type":219,"children":6080,"markDefs":6085,"style":232},"26211df57f52",[6081],{"_key":6082,"_type":223,"marks":6083,"text":6084},"56443b0606d30",[],"The project asks what forms of resistance can emerge when control is not always visible. How can artistic practice expose systems that are hidden behind the language of neutrality, progress, security, or innovation? How can refusal create space for opacity, uncertainty, intimacy, and other ways of relating to the world?",[],{"_key":6087,"_type":219,"children":6088,"markDefs":6093,"style":232},"d32ee9a0f9c5",[6089],{"_key":6090,"_type":223,"marks":6091,"text":6092},"1785964752800",[],"To Command the Clouds Is to Own the Future proposes the cloud as a political and poetic figure of the present. It is a site where atmosphere, technology, infrastructure, and power meet. Through installation, spatial research, writing, and critical storytelling, the project examines how the future is being claimed, and how it might still be refused.",[],{"_key":6095,"_type":219,"children":6096,"markDefs":6101,"style":232},"19fc5478bb8e",[6097],{"_key":6098,"_type":223,"marks":6099,"text":6100},"0cf0645045560",[],"To Own the Air is the first chapter of To Command the Clouds Is to Own the Future. It focuses on the atmosphere as the first invisible territory of the project.",[],[6103,6113,6123,6133,6150],{"_type":1559,"question":6104},[6105],{"_key":6106,"_type":219,"children":6107,"markDefs":6112,"style":232},"3f0037e376d6",[6108],{"_key":6109,"_type":223,"marks":6110,"text":6111},"6d9e498a79770",[],"What forms of control are hidden inside the language of protection, prediction, and security?",[],{"_type":1559,"question":6114},[6115],{"_key":6116,"_type":219,"children":6117,"markDefs":6122,"style":232},"b2f77b06b89f",[6118],{"_key":6119,"_type":223,"marks":6120,"text":6121},"43e0cc5a028a0",[],"Can refusal offer a way to resist the transformation of air, weather, data, and intimacy into spaces of prediction, extraction, and ownership?",[],{"_type":1559,"question":6124},[6125],{"_key":6126,"_type":219,"children":6127,"markDefs":6132,"style":232},"7b0b5aa5cbaf",[6128],{"_key":6129,"_type":223,"marks":6130,"text":6131},"f4752c05ea700",[],"What does the cloud conceal when it appears weightless, neutral, or beyond reach?",[],{"_type":1559,"question":6134},[6135,6143],{"_key":6136,"_type":219,"children":6137,"markDefs":6142,"style":232},"736f1d165319",[6138],{"_key":6139,"_type":223,"marks":6140,"text":6141},"7d83bb632af20",[],"How can artistic practice make visible the forces that transform air, weather, and the sky into spaces of command?",[],{"_key":6144,"_type":219,"children":6145,"markDefs":6149,"style":232},"b4493561a42b",[6146],{"_key":6147,"_type":223,"marks":6148,"text":369},"1d502fcf1d2b0",[],[],{"_type":1559,"question":6151},[6152],{"_key":6153,"_type":219,"children":6154,"markDefs":6159,"style":232},"abf717523d58",[6155],{"_key":6156,"_type":223,"marks":6157,"text":6158},"ff359bb31f550",[],"How does the atmosphere become political when it is measured, monitored, militarized, and treated as infrastructure?",[],[6161,101,6162,6163,6164,6165,6166,411,6003,6167,1609,4625,6168,1612,6169],"to command the clouds is to own the future: to own the air","what forms of control are hidden inside the language of protection, prediction, and security?","can refusal offer a way to resist the transformation of air, weather, data, and intimacy into spaces of prediction, extraction, and ownership?","what does the cloud conceal when it appears weightless, neutral, or beyond reach?","how can artistic practice make visible the forces that transform air, weather, and the sky into spaces of command?\n\n","how does the atmosphere become political when it is measured, monitored, militarized, and treated as infrastructure?","to command the clouds is to own the future is an artistic research project about control, territory, and invisible infrastructures. it investigates how contemporary power is no longer limited to the occupation of land, but extends into atmospheric, digital, algorithmic, and intimate realms.\n\nthe project begins from the double meaning of the cloud. the cloud is atmospheric: air, weather, climate, vapor, movement. but it is also digital: data centers, servers, networks, storage, computation. in both cases, the cloud appears immaterial and distant, yet it is deeply connected to infrastructure, extraction, energy, surveillance, and political power. to command the clouds means to control not only a physical environment, but the conditions through which life is predicted, organized, and governed.\n\nthe project traces how older forms of territorial ambition are reappearing in new and less visible forms. the desire to control land is extended into the desire to control weather, airspace, satellites, data flows, algorithmic systems, and behavior. power increasingly operates through prediction, optimization, automation, and command. it does not only draw borders on the ground; it creates invisible borders through infrastructures, protocols, permissions, and systems of access.\n\nwithin this framework, refusal becomes a central gesture. refusal is not understood as simple negation, but as a way of interrupting the logic of domination. to refuse is to question the assumption that everything must be measured, controlled, extracted, or made useful. it is a way to resist the transformation of shared, unstable, or intimate spaces into territories of command.\n\nthe project asks what forms of resistance can emerge when control is not always visible. how can artistic practice expose systems that are hidden behind the language of neutrality, progress, security, or innovation? how can refusal create space for opacity, uncertainty, intimacy, and other ways of relating to the world?\n\nto command the clouds is to own the future proposes the cloud as a political and poetic figure of the present. it is a site where atmosphere, technology, infrastructure, and power meet. through installation, spatial research, writing, and critical storytelling, the project examines how the future is being claimed, and how it might still be refused.\n\nto own the air is the first chapter of to command the clouds is to own the future. it focuses on the atmosphere as the first invisible territory of the project.","climate knowledge","spatial forensics",{"_type":9,"current":6171},"to-command-the-clouds-is-to-own-the-future","To Command the Clouds Is to Own the Future: To Own the Air",{"_id":6174,"_type":838,"categories":6175,"credits":6201,"featuredImage":6301,"filterables":6305,"footnotes":6318,"locations":6319,"logbook":6331,"pageBuilder":6484,"researchQuestion":7,"researchQuestions":6803,"searchables":6883,"seo":7,"slug":6891,"title":6893,"year":102},"d6c521b4-eb4a-4dea-99cd-10d5512908b6",[6176,6179,6182,6185,6188,6191,6194],{"_id":5918,"_type":293,"colorPrimary":6177,"seo":7,"slug":6178,"title":5923},{"label":295,"value":5920},{"_type":9,"current":5922},{"_id":848,"_type":293,"colorPrimary":6180,"seo":7,"slug":6181,"title":853},{"label":295,"value":850},{"_type":9,"current":852},{"_id":869,"_type":293,"colorPrimary":6183,"seo":7,"slug":6184,"title":874},{"label":295,"value":871},{"_type":9,"current":873},{"_id":4913,"_type":293,"colorPrimary":6186,"seo":7,"slug":6187,"title":4918},{"label":295,"value":4915},{"_type":9,"current":4917},{"_id":4937,"_type":293,"colorPrimary":6189,"seo":7,"slug":6190,"title":4942},{"label":295,"value":4939},{"_type":9,"current":4941},{"_id":4621,"_type":293,"colorPrimary":6192,"seo":7,"slug":6193,"title":4626},{"label":295,"value":4623},{"_type":9,"current":4625},{"_id":6195,"_type":293,"colorPrimary":6196,"seo":7,"slug":6198,"title":6200},"9b14bbbc-4a9d-4861-8be6-880a5d3c69ce",{"label":295,"value":6197},"#ff9b00",{"_type":9,"current":6199},"creative-climate-communicating","Creative Climate Communicating",{"other":7,"profiles":6202},[6203,6244],{"_id":6204,"_type":310,"activeYears":6205,"bio":6208,"bioShort":6215,"featuredImage":7,"filterables":6224,"links":7,"locations":6227,"searchables":6239,"seo":7,"slug":6241,"title":6243},"ba722a8a-d04e-40bf-8ecf-d0c1f0af2f64",[6206],{"_id":98,"_type":99,"seo":7,"slug":6207,"title":102},{"_type":9,"current":101},[6209,6217],{"_key":6210,"_type":219,"children":6211,"markDefs":6216,"style":232},"75a67e99adab",[6212],{"_key":6213,"_type":223,"marks":6214,"text":6215},"b8d35fbb05b40",[],"Anna is a Fine Arts students at ZHdK, Zurcher Hochschule der Kunst, born in Rome, Italy.",[],{"_key":6218,"_type":219,"children":6219,"markDefs":6223,"style":232},"b67245e4eb9f",[6220],{"_key":6221,"_type":223,"marks":6222,"text":369},"af5f10719518",[],[],{"filterYear":6225},[6226],{"_id":98,"title":102},{"locations":6228,"other":6231},[6229],{"_id":408,"_type":409,"seo":7,"slug":6230,"title":412},{"_type":9,"current":411},[6232],{"_key":6233,"_type":219,"children":6234,"markDefs":6238,"style":232},"dc24712cba42",[6235],{"_key":6236,"_type":223,"marks":6237,"text":5024},"69a87321d1ed",[],[],[6240,101],"anna campani",{"_type":9,"current":6242},"anna-campani","Anna Campani",{"_id":6245,"_type":310,"activeYears":6246,"bio":6261,"bioShort":6270,"featuredImage":7,"filterables":6271,"links":6280,"locations":6283,"searchables":6296,"seo":7,"slug":6298,"title":6300},"c8be7162-2392-45c5-a94b-897e73004b41",[6247,6249,6251,6253,6255,6257,6259],{"_id":135,"_type":99,"seo":7,"slug":6248,"title":138},{"_type":9,"current":137},{"_id":130,"_type":99,"seo":7,"slug":6250,"title":133},{"_type":9,"current":132},{"_id":125,"_type":99,"seo":7,"slug":6252,"title":128},{"_type":9,"current":127},{"_id":120,"_type":99,"seo":7,"slug":6254,"title":123},{"_type":9,"current":122},{"_id":115,"_type":99,"seo":7,"slug":6256,"title":118},{"_type":9,"current":117},{"_id":110,"_type":99,"seo":7,"slug":6258,"title":113},{"_type":9,"current":112},{"_id":105,"_type":99,"seo":7,"slug":6260,"title":108},{"_type":9,"current":107},[6262],{"_key":6263,"_type":219,"children":6264,"markDefs":6269,"style":232},"7ffe2a4ac168",[6265],{"_key":6266,"_type":223,"marks":6267,"text":6268},"b42fe50295920",[],"The study and research programme covers the areas of art education, design, film, fine arts, music, dance, theatre and transdisciplinary studies. It is a state university with its own legal personality and is institutionally accredited.",[],"One of the leading art universities in Europe. ",{"filterYear":6272},[6273,6274,6275,6276,6277,6278,6279],{"_id":135,"title":138},{"_id":130,"title":133},{"_id":125,"title":128},{"_id":120,"title":123},{"_id":115,"title":118},{"_id":110,"title":113},{"_id":105,"title":108},[6281],{"_type":396,"label":397,"url":6282},"https://www.zhdk.ch/",{"locations":6284,"other":6287},[6285],{"_id":408,"_type":409,"seo":7,"slug":6286,"title":412},{"_type":9,"current":411},[6288],{"_key":6289,"_type":219,"children":6290,"markDefs":6295,"style":232},"9368f950e09b",[6291],{"_key":6292,"_type":223,"marks":6293,"text":6294},"f4ddbc768a680",[],"Pfingstweidstrasse 96, 8005 Zürich, Switzerland",[],[6297,137,132,127,122,117,112,107],"zhdk – zürcher hochschule der künste",{"_type":9,"current":6299},"zhdk-zuercher-hochschule-der-kuenste","ZHdK – Zürcher Hochschule der 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back?",[],{"_key":6420,"_type":219,"children":6421,"markDefs":6433,"style":232},"c05db75569a9",[6422,6426,6430],{"_key":6423,"_type":223,"marks":6424,"text":6425},"6993052ba96e",[],"What does art have to do with the ",{"_key":6427,"_type":223,"marks":6428,"text":6429},"f1088f678c9a",[225],"documentation of reality",{"_key":6431,"_type":223,"marks":6432,"text":6385},"b87681a8bbd0",[],[],{"_key":6435,"_type":219,"children":6436,"markDefs":6448,"style":232},"86b5cb0b5d38",[6437,6441,6445],{"_key":6438,"_type":223,"marks":6439,"text":6440},"b9f402841a8c",[],"Could we speak of ",{"_key":6442,"_type":223,"marks":6443,"text":6444},"ed975cc33a70",[225],"artistic journalism",{"_key":6446,"_type":223,"marks":6447,"text":6385},"97959903137c",[],[],{"_key":6450,"_type":219,"children":6451,"markDefs":6460,"style":232},"9e9b3613dc9c",[6452,6456],{"_key":6453,"_type":223,"marks":6454,"text":6455},"f4c94f000879",[],"If we consider art as a form of resistance, what practices could be the ",{"_key":6457,"_type":223,"marks":6458,"text":6459},"b2491ee005b5",[225],"most effective to make a change?",[],{"_key":6462,"_type":219,"children":6463,"markDefs":6476,"style":232},"93a903cf9ebf",[6464,6468,6472],{"_key":6465,"_type":223,"marks":6466,"text":6467},"4b0b48eb4259",[],"Can ",{"_key":6469,"_type":223,"marks":6470,"text":6471},"b116f186b785",[225],"non-violent civil resistance",{"_key":6473,"_type":223,"marks":6474,"text":6475},"e519dfab00c1",[]," be the core of an art practice?",[],{"_key":6478,"_type":219,"children":6479,"markDefs":6483,"style":232},"1e939a3852fb",[6480],{"_key":6481,"_type":223,"marks":6482,"text":369},"0be84bc40e2d",[],[],[6485,6540,6604,6661,6743],{"_type":1451,"settings":6486,"text":6487},{"textColumnCount":1453},[6488,6496,6520,6532],{"_key":6489,"_type":219,"children":6490,"markDefs":6495,"style":232},"22e166017ad5",[6491],{"_key":6492,"_type":223,"marks":6493,"text":6494},"f7c16ad1dfe40",[],"My tentative question has its basis on two main topics that have been floating inside my head for a while now, and that for this application I am finally pushing myself in spitting them out.",[],{"_key":6497,"_type":219,"children":6498,"markDefs":6519,"style":232},"39a288e120d7",[6499,6503,6507,6511,6515],{"_key":6500,"_type":223,"marks":6501,"text":6502},"9d480b31e7a80",[],"Being an art student since a young age, I have been noticing more and more how big is the lack of affordable materials that students have at their disposal in order to experiment and develop their artistic practice. This ",{"_key":6504,"_type":223,"marks":6505,"text":6506},"9d480b31e7a81",[225],"first problem",{"_key":6508,"_type":223,"marks":6509,"text":6510},"9d480b31e7a82",[]," holds them back from trying new techniques and therefore enrich their knowledge on a certain material or art topic. The second theme of interest of mine has its roots in museums – as well as art galleries and exhibition spaces in general –, and more specifically ",{"_key":6512,"_type":223,"marks":6513,"text":6514},"9d480b31e7a83",[225],"addresses the waste and its big foot-print that the displaying of art has on our environment",{"_key":6516,"_type":223,"marks":6517,"text":6518},"9d480b31e7a84",[],". In fact exhibition spaces produce a big amount of waste on a regular basis, starting from the design elements no more in use of the just ended exhibition, old wrapping materials from the archival or the outdated storage furniture. Such materials – whether caused by the lack of space, the moving in a new storage space, or the invention/discovery of a more efficient preserving material – are still in good enough condition for experimental purposes, try-out samples, or even to create mixed media sculptures, paintings, installations by art students that are eager to learn.",[],{"_key":6521,"_type":219,"children":6522,"markDefs":6531,"style":232},"21b00e01799b",[6523,6527],{"_key":6524,"_type":223,"marks":6525,"text":6526},"b65bf38958c20",[],"Therefore my question is: ",{"_key":6528,"_type":223,"marks":6529,"text":6530},"b65bf38958c21",[225],"how can I put in dialogue museums/gallery/exhibition spaces with students who seek materials to develop their artistic practice? How can I make this topic visible to both these target groups so to finally create a direct link between them, a strong cooperation against the climate crisis?",[],{"_key":6533,"_type":219,"children":6534,"markDefs":6539,"style":232},"f065f7c5240c",[6535],{"_key":6536,"_type":223,"marks":6537,"text":6538},"92538c20b5fc",[],"But let me arrive straight to the point. By creating art only with left over materials not only could this topic be brought to the ecologists rounded table, but could also crate an exchange-platform where museums can give away for free or low price their off-cut materials to students, who are going to give them a new artist life.",[],{"_type":6541,"image":6542,"settings":6557,"text":6559},"textImageBlock",{"alt":7,"asset":6543,"caption":6548},{"_id":6544,"height":6545,"orientation":492,"ratio":2235,"url":6546,"width":6547},"image-ef5eb4d1487b0316e2801cc651f692db0155b5c4-2160x3840-jpg",3840,"https://cdn.sanity.io/images/eodip22e/production/ef5eb4d1487b0316e2801cc651f692db0155b5c4-2160x3840.jpg",2160,[6549],{"_key":6550,"_type":219,"children":6551,"markDefs":6556,"style":232},"19588442d9f6",[6552],{"_key":6553,"_type":223,"marks":6554,"text":6555},"264eae26fb23",[],"Untitled, 2025 - House & Garden Exhibition in CAPNapoliEst, Napoli, Italy",[],{"mediaPosition":6558},"right",[6560,6580,6596],{"_key":6561,"_type":219,"children":6562,"markDefs":6579,"style":232},"3f591ff721f6",[6563,6567,6571,6575],{"_key":6564,"_type":223,"marks":6565,"text":6566},"c7fd8dbcf9990",[225],"Objective",{"_key":6568,"_type":223,"marks":6569,"text":6570},"8b858ffeed18",[],"(s)\n• Show to my peer students that it ",{"_key":6572,"_type":223,"marks":6573,"text":6574},"272e4c4feb57",[225],"is possible to build an art\npractice based on high quality recycled materials",{"_key":6576,"_type":223,"marks":6577,"text":6578},"fe372d996936",[],", using my BA\nfinal art piece as a starting point;\n• Bring the academic and institutional discourse on:",[],{"_key":6581,"_type":219,"children":6582,"level":2019,"listItem":2020,"markDefs":6595,"style":232},"5d3944d14f4f",[6583,6587,6591],{"_key":6584,"_type":223,"marks":6585,"text":6586},"4c12601e45d5",[],"how we think about art conservation and weather our current\n",{"_key":6588,"_type":223,"marks":6589,"text":6590},"d4e282a34a7c",[225],"conservation methods are sustainable (or not)",{"_key":6592,"_type":223,"marks":6593,"text":6594},"248dc5f120a1",[],";",[],{"_key":6597,"_type":219,"children":6598,"level":2019,"listItem":2020,"markDefs":6603,"style":232},"a0b183782217",[6599],{"_key":6600,"_type":223,"marks":6601,"text":6602},"904a684918f8",[],"the consumer awareness, as art students, on news that we get on\ninstagram, and how ca we react to that.",[],{"_type":6541,"image":6605,"settings":6626,"text":6628},{"alt":7,"asset":6606,"caption":6609},{"_id":6607,"height":3079,"orientation":492,"ratio":493,"url":6608,"width":3081},"image-4f1b57d70253e5f0b841a7dd5ad7a49a3729c8a7-3024x4032-jpg","https://cdn.sanity.io/images/eodip22e/production/4f1b57d70253e5f0b841a7dd5ad7a49a3729c8a7-3024x4032.jpg",[6610],{"_key":6611,"_type":219,"children":6612,"markDefs":6625,"style":232},"5ae038603292",[6613,6617,6621],{"_key":6614,"_type":223,"marks":6615,"text":6616},"fef17fed943d",[],"Nessuno potrà dire io non sapevo ",{"_key":6618,"_type":223,"marks":6619,"text":6620},"d4139e911928",[663],"No one could ever say I didn't know, 2025 - \"",{"_key":6622,"_type":223,"marks":6623,"text":6624},"063d251d5236",[],"I Have been Wanting To scream For a while Now\" duo exhibition at ZHdK, Zurich, Switzerland",[],{"mediaPosition":6627},"left",[6629],{"_key":6630,"_type":219,"children":6631,"markDefs":6660,"style":232},"fc465987457d",[6632,6636,6640,6644,6648,6652,6656],{"_key":6633,"_type":223,"marks":6634,"text":6635},"eec8b1afe1e1",[225],"Method",{"_key":6637,"_type":223,"marks":6638,"text":6639},"85a1ff5bef5e",[],"(s)\n• Since I have been studying in Zurich, a good 95% (in volume) of\nthe materials of my pieces had a previous life;\n• ",{"_key":6641,"_type":223,"marks":6642,"text":6643},"6e1b7ba4bdc6",[225],"Communication is the key",{"_key":6645,"_type":223,"marks":6646,"text":6647},"df5fd79ce900",[],": I bring up the topic during all the\npresentations of my pieces;\n• ",{"_key":6649,"_type":223,"marks":6650,"text":6651},"a4f8b9bd426a",[225],"Caring is sharing:",{"_key":6653,"_type":223,"marks":6654,"text":6655},"9fb3216b9613",[]," I bring useful material that I get during my\ninternships to ZHdK in the recycling-areas in the building;\n• Spending time in the exhibition space as much as possible to\nengage in conversation with the viewers;\n• ",{"_key":6657,"_type":223,"marks":6658,"text":6659},"38fe0bd49e80",[225],"Including bibliography, where the references come from in my\npieces.",[],{"_type":6541,"image":6662,"settings":6678,"text":6679},{"alt":7,"asset":6663,"caption":6669},{"_id":6664,"height":6665,"orientation":383,"ratio":6666,"url":6667,"width":6668},"image-4e4ce364d97b5f1209e2ef93e518d3eab7d2ed26-4025x2683-jpg",2683,1.5001863585538575,"https://cdn.sanity.io/images/eodip22e/production/4e4ce364d97b5f1209e2ef93e518d3eab7d2ed26-4025x2683.jpg",4025,[6670],{"_key":6671,"_type":219,"children":6672,"markDefs":6677,"style":232},"39ed654ede78",[6673],{"_key":6674,"_type":223,"marks":6675,"text":6676},"8669b960469e",[],"sketch for my diploma project",[],{"mediaPosition":6558},[6680,6703,6719,6735],{"_key":6681,"_type":219,"children":6682,"markDefs":6702,"style":232},"a40bb8487a49",[6683,6687,6691,6695,6699],{"_key":6684,"_type":223,"marks":6685,"text":6686},"f6837906a7980",[],"In ",{"_key":6688,"_type":223,"marks":6689,"text":6690},"6c9f740ec8af",[225],"practice",{"_key":6692,"_type":223,"marks":6693,"text":6694},"a11e439e8a2b",[],"\n• I will “ask” my research question to the art public during my\ndiploma show through a ",{"_key":6696,"_type":223,"marks":6697,"text":6698},"e63bae621daf",[225],"performative action",{"_key":6700,"_type":223,"marks":6701,"text":1187},"3e79cfe0394f",[],[],{"_key":6704,"_type":219,"children":6705,"level":2019,"listItem":2020,"markDefs":6718,"style":232},"4f6df896b64a",[6706,6710,6714],{"_key":6707,"_type":223,"marks":6708,"text":6709},"5e06e9074bf7",[],"In which the ",{"_key":6711,"_type":223,"marks":6712,"text":6713},"b1da17cf7be2",[225],"waste in art production",{"_key":6715,"_type":223,"marks":6716,"text":6717},"78c1072654dc",[]," is one of the main focus;",[],{"_key":6720,"_type":219,"children":6721,"level":2019,"listItem":2020,"markDefs":6734,"style":232},"cd6b4f47964e",[6722,6726,6730],{"_key":6723,"_type":223,"marks":6724,"text":6725},"760c71d788c9",[],"While bringing the attention to disinformation on ",{"_key":6727,"_type":223,"marks":6728,"text":6729},"9693c0e6da3c",[225],"ongoing conflicts",{"_key":6731,"_type":223,"marks":6732,"text":6733},"4470eefc907a",[],"\n(f.i. Genocide in Palestine, Israeli-US relations etc...) that Instagram as\nsocial media is “offering” us;",[],{"_key":6736,"_type":219,"children":6737,"level":2019,"listItem":2020,"markDefs":6742,"style":232},"32bd2e753e28",[6738],{"_key":6739,"_type":223,"marks":6740,"text":6741},"4341561021a5",[],"For which I’m now making the installation with which I will\ninteract.",[],{"_type":6541,"image":6744,"settings":6761,"text":6762},{"alt":7,"asset":6745,"caption":6748},{"_id":6746,"height":6545,"orientation":492,"ratio":2235,"url":6747,"width":6547},"image-13ae2ec36ec5750b26f7132d5b71ca2845f4b6cd-2160x3840-jpg","https://cdn.sanity.io/images/eodip22e/production/13ae2ec36ec5750b26f7132d5b71ca2845f4b6cd-2160x3840.jpg",[6749],{"_key":6750,"_type":219,"children":6751,"markDefs":6760,"style":232},"fc94ba74b89c",[6752,6756],{"_key":6753,"_type":223,"marks":6754,"text":6755},"c5d79fee8343",[],"TINA ",{"_key":6757,"_type":223,"marks":6758,"text":6759},"84ecf2826694",[663],"There Is No Alternative, 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",{"_key":6876,"_type":223,"marks":6877,"text":6878},"bcb719f629a0",[225],"strong cooperation against the climate crisis",{"_key":6880,"_type":223,"marks":6881,"text":6385},"2308224b44dc",[],[],[6884,101,6885,6886,6887,411,6888,6240,6297,6889,6168,1609,1612,5315,5316,4625,6890],"unwrapping the arts","how can i put museums/gallery/exhibition spaces in dialogue with students who seek materials to develop their artistic practice?","how can i make this topic visible to both these target groups so to finally create a direct link between them, a strong cooperation against the climate crisis?","how do we get informed through social media?\n\nwhat effect does receiving and looking at decontextualized\nimages have on our understanding of news?\n\nhow do digital images shape our idea of reality?\n\nhow could we as artists react to the saturation of non-physical images?\n\nhow can the physicality of a picture be brought back?\n\nwhat does art have to do with the documentation of reality?\n\ncould we speak of artistic journalism?\n\nif we consider art as a form of resistance, what practices could be the most effective to make a change?\n\ncan non-violent civil resistance be the core of an art practice?\n\n","zurich","my tentative question has its basis on two main topics that have been floating inside my head for a while now, and that for this application i am finally pushing myself in spitting them out.\n\nbeing an art student since a young age, i have been noticing more and more how big is the lack of affordable materials that students have at their disposal in order to experiment and develop their artistic practice. this first problem holds them back from trying new techniques and therefore enrich their knowledge on a certain material or art topic. the second theme of interest of mine has its roots in museums – as well as art galleries and exhibition spaces in general –, and more specifically addresses the waste and its big foot-print that the displaying of art has on our environment. in fact exhibition spaces produce a big amount of waste on a regular basis, starting from the design elements no more in use of the just ended exhibition, old wrapping materials from the archival or the outdated storage furniture. such materials – whether caused by the lack of space, the moving in a new storage space, or the invention/discovery of a more efficient preserving material – are still in good enough condition for experimental purposes, try-out samples, or even to create mixed media sculptures, paintings, installations by art students that are eager to learn.\n\ntherefore my question is: how can i put in dialogue museums/gallery/exhibition spaces with students who seek materials to develop their artistic practice? how can i make this topic visible to both these target groups so to finally create a direct link between them, a strong cooperation against the climate crisis?\n\nbut let me arrive straight to the point. by creating art only with left over materials not 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Out",{"other":7,"profiles":6928},[6929,6968],{"_id":6930,"_type":310,"activeYears":6931,"bio":6934,"bioShort":6951,"featuredImage":6952,"filterables":6957,"links":6960,"locations":7,"searchables":6963,"seo":7,"slug":6965,"title":6967},"3ea66ce3-37aa-4da5-a6ad-c3af2e1ffdf8",[6932],{"_id":98,"_type":99,"seo":7,"slug":6933,"title":102},{"_type":9,"current":101},[6935,6943],{"_key":6936,"_type":219,"children":6937,"markDefs":6942,"style":232},"1d25ea35a3ce",[6938],{"_key":6939,"_type":223,"marks":6940,"text":6941},"bd9271edd8f70",[],"\"Where to go back to? Where do they and we go back to?\"",[],{"_key":6944,"_type":219,"children":6945,"markDefs":6950,"style":232},"80ffa745cb25",[6946],{"_key":6947,"_type":223,"marks":6948,"text":6949},"79a01a1693840",[],"I wrote these last two lines in a recent poem, thinking about my home and the fate of Palestinians living under oppression. In some way, they give me a clearer image of my home, a home that has always remained in the air, both geographically—a highland strip—and ancestral roots—a group of oppressed people. Then there are other homes, spontaneous anchors that come and go, things that are no longer here, things that exist in memory; amidst them, I see a small fragment of their pain. Above all, how can my home be shared with their home? 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Her practice-led research is centred around themes of co-regulation, interconnectedness and material biographies.",[],{"_key":6983,"_type":219,"children":6984,"markDefs":6989,"style":232},"98eace277f79",[6985],{"_key":6986,"_type":223,"marks":6987,"text":6988},"b2bfa016d4250",[],"Angela facilitates seasonally-framed art projects and residency placements on the land she and her family care for. She often works with locally sourced textiles and earth/plant pigments. In her masters degree, she led a residency placement for Canadian educators. This research assessed the impact of creative embodied practice on awareness of the self and others. ",[],{"_key":6991,"_type":219,"children":6992,"markDefs":6997,"style":232},"cdec3de4fdf3",[6993],{"_key":6994,"_type":223,"marks":6995,"text":6996},"d91e299c53db0",[],"She holds a BA in Psychology (University of Queensland, Australia), a BFA in Sculpture and Installation (OCADU, Canada) and a MA Intercultural Practices (Central Saint Martins, The University of the Arts London, UK).",[],{"alt":6999,"asset":7000},"light-skinned hand grasping forked branch with woven willow stems; greenery and willow branches, with a person's brown pants and boot in the background",{"_id":7001,"height":5387,"orientation":492,"ratio":493,"url":7002,"width":386},"image-80891df5f0fe396e9434363d035cf06caef10f1e-1500x2000-jpg","https://cdn.sanity.io/images/eodip22e/production/80891df5f0fe396e9434363d035cf06caef10f1e-1500x2000.jpg",{"filterYear":7004},[7005],{"_id":98,"title":102},{"locations":7007,"other":7},[7008,7010],{"_id":3782,"_type":409,"seo":7,"slug":7009,"title":3785},{"_type":9,"current":3784},{"_id":7011,"_type":409,"seo":7,"slug":7012,"title":7014},"183e5f68-ab6d-45e6-85d1-d6428d490e2e",{"_type":9,"current":7013},"pacific","Pacific",[7016,101],"angela mcintosh",{"_type":9,"current":7018},"angela-mcintosh","Angela McIntosh",{"alt":7021,"asset":7022},"handwritten invitation in black ink on rectangular sheet of light brown Vietnamese dó paper, resting on a shrub",{"_id":7023,"height":5387,"orientation":492,"ratio":493,"url":7024,"width":386},"image-286cf3a25a57d330854d0ad844e4cb07fba321b6-1500x2000-jpg","https://cdn.sanity.io/images/eodip22e/production/286cf3a25a57d330854d0ad844e4cb07fba321b6-1500x2000.jpg",{"filterCategory":7026,"filterLocation":7033,"filterYear":7035},[7027,7028,7029,7030,7031,7032],{"_id":841,"title":846},{"_id":6901,"title":6906},{"_id":6908,"title":6913},{"_id":4099,"title":4104},{"_id":890,"title":895},{"_id":6921,"title":6926},[7034],{"_id":1962,"title":1963},[7036],{"_id":98,"title":102},[],{"locations":7039,"other":7},[7040],{"_id":1962,"_type":409,"seo":7,"slug":7041,"title":1963},{"_type":9,"current":1971},[7043,7101],{"_type":1451,"settings":7044,"text":7045},{"textColumnCount":1453},[7046,7058,7066,7073,7085,7093],{"_key":7047,"_type":219,"children":7048,"markDefs":7057,"style":232},"c31a0d271f71",[7049,7053],{"_key":7050,"_type":223,"marks":7051,"text":7052},"6911440a452e",[225],"‘Home’",{"_key":7054,"_type":223,"marks":7055,"text":7056},"cac857325e36",[]," is perceived differently by each person. Some leave and enter many homes. Some never feel at home. Some always have a home. Some view home as within the self. What does ‘home’ mean and what does it look like? The idea of home could be elusive, a short memory, a specific smell, a combat within one’s own body, a dominant culture, a violent scene, a warm hug, a plant, an imaginary forest, an old book, a breath, a relationship that is no longer there, a fading star. What else?",[],{"_key":7059,"_type":219,"children":7060,"markDefs":7065,"style":232},"6a4b9b4a60b4",[7061],{"_key":7062,"_type":223,"marks":7063,"text":7064},"43e3cb843cf1",[],"In the context of an increasingly complex world, one might not feel at home within one’s own home place. How can we extend our understanding of home beyond the familiar, and what can we do differently?",[],{"_key":7067,"_type":219,"children":7068,"markDefs":7072,"style":232},"b1d21b0c7cdb",[7069],{"_key":7070,"_type":223,"marks":7071,"text":369},"41fa53ebf35a",[],[],{"_key":7074,"_type":219,"children":7075,"markDefs":7084,"style":232},"ff19ee8e3f9d",[7076,7080],{"_key":7077,"_type":223,"marks":7078,"text":7079},"b2d16e3a0f6b",[663,225],"an",{"_key":7081,"_type":223,"marks":7082,"text":7083},"22e7017f7b7e",[225],"- collaboration",[],{"_key":7086,"_type":219,"children":7087,"markDefs":7092,"style":232},"22effab99ba8",[7088],{"_key":7089,"_type":223,"marks":7090,"text":7091},"0efe8e67eb94",[],"As a duo, we are one Vietnamese living in Switzerland, working closely with plants and words; and one Australian-Canadian, working closely with earth and plant pigments, and textiles. Together, through our different but resonant set of practices, we bring an intercultural and intergenerational sensibility, and a love of contributing to diverse communities. ",[],{"_key":7094,"_type":219,"children":7095,"markDefs":7100,"style":232},"b1907acb0958",[7096],{"_key":7097,"_type":223,"marks":7098,"text":7099},"ce0608af2f52",[],"Our topic arose from shared personal experiences of feeling uprooted as a result of settling in new lands and cultures, at different ages and stages of life. We have a common interest in learning ways to navigate complexity through care-based, collaborative practices. Mediated through creative exploration, including poetry and mapping, we seek to create intimate spaces for dialogic exchange. By collaborating with each other and extending that collaboration to those in our respective communities, both in-person and online, we hope to touch on the space of 'homeness' to unearth deeper awareness of what home may mean in different contexts and from different perspectives and positionalities.",[],{"_type":6541,"image":7102,"settings":7119,"text":7120},{"alt":7103,"asset":7104,"caption":7110},"handwritten invitation in black ink on two rectangular sheets of light brown Vietnamese dó paper, resting on a shrub",{"_id":7105,"height":7106,"orientation":383,"ratio":7107,"url":7108,"width":7109},"image-050966df7238a99baf598364304009fa48995f87-1392x1383-jpg",1383,1.0065075921908895,"https://cdn.sanity.io/images/eodip22e/production/050966df7238a99baf598364304009fa48995f87-1392x1383.jpg",1392,[7111],{"_key":7112,"_type":219,"children":7113,"markDefs":7118,"style":232},"9cf111578c59",[7114],{"_key":7115,"_type":223,"marks":7116,"text":7117},"e5006ea2793e0",[663],"Handwritten invitation on Vietnamese dó paper",[],{"mediaPosition":6558},[7121,7129],{"_key":7122,"_type":219,"children":7123,"markDefs":7128,"style":232},"e9925335c465",[7124],{"_key":7125,"_type":223,"marks":7126,"text":7127},"22bcd9171d000",[225],"preliminary research: e-lettering",[],{"_key":7130,"_type":219,"children":7131,"markDefs":7140,"style":232},"e17491925cc0",[7132,7136],{"_key":7133,"_type":223,"marks":7134,"text":7135},"22bcd9171d001",[663],"\"dear you\"",{"_key":7137,"_type":223,"marks":7138,"text":7139},"949c0f2a4054",[]," was an invitation to people in our close relational network to provide intimate reflections on what home meant to them and why. Spread across continents, generations and life-experiences, we selected email (e-lettering) as the primary way to communicate. It is a simple, accessible form that allows space for reflection and a way to navigate different time zones. From this preliminary research, a number of themes are emerging, which are informing our next steps.",[],[7142,7163],{"_type":1559,"question":7143},[7144,7155],{"_key":7145,"_type":219,"children":7146,"markDefs":7154,"style":232},"aa9defd9e154",[7147,7151],{"_key":7148,"_type":223,"marks":7149,"text":7150},"f0be2be7530f0",[225],"What are some ways of perceiving the concept of ‘home’ or ’nhà’* in different circumstances?",{"_key":7152,"_type":223,"marks":7153,"text":4423},"76c4a63c6b80",[],[],{"_key":7156,"_type":219,"children":7157,"markDefs":7162,"style":232},"66d786cf473b",[7158],{"_key":7159,"_type":223,"marks":7160,"text":7161},"abca0fc92ca00",[663],"*a note on translation: while our shared working language is English, Vietnamese is the mother tongue of one of us. Home and house both mean 'nhà' in Vietnamese: a place to come back to, and can also be understood as hometown.",[],{"_type":1559,"question":7164},[7165],{"_key":7166,"_type":219,"children":7167,"markDefs":7172,"style":232},"be69a6b31027",[7168],{"_key":7169,"_type":223,"marks":7170,"text":7171},"5c5b26d84dff0",[225],"How can we extend our understanding of home beyond the familiar? What can we do differently?",[],[7174,101,7175,7176,1971,6964,7016,7177,1608,7178,7179,4103,1615,7180],"a poetry of homing","what are some ways of perceiving the concept of ‘home’ or ’nhà’* in different circumstances?\n\n\n*a note on translation: while our shared working language is english, vietnamese is the mother tongue of one of us. home and house both mean 'nhà' in vietnamese: a place to come back to, and can also be understood as hometown.","how can we extend our understanding of home beyond the familiar? what can we do differently?","‘home’ is perceived differently by each person. some leave and enter many homes. some never feel at home. some always have a home. some view home as within the self. what does ‘home’ mean and what does it look like? the idea of home could be elusive, a short memory, a specific smell, a combat within one’s own body, a dominant culture, a violent scene, a warm hug, a plant, an imaginary forest, an old book, a breath, a relationship that is no longer there, a fading star. what else?\n\nin the context of an increasingly complex world, one might not feel at home within one’s own home place. how can we extend our understanding of home beyond the familiar, and what can we do differently?\n\n\n\nan- collaboration\n\nas a duo, we are one vietnamese living in switzerland, working closely with plants and words; and one australian-canadian, working closely with earth and plant pigments, and textiles. together, through our different but resonant set of practices, we bring an intercultural and intergenerational sensibility, and a love of contributing to diverse communities. \n\nour topic arose from shared personal experiences of feeling uprooted as a result of settling in new lands and cultures, at different ages and stages of life. we have a common interest in learning ways to navigate complexity through care-based, collaborative practices. mediated through creative exploration, including poetry and mapping, we seek to create intimate spaces for dialogic exchange. by collaborating with each other and extending that collaboration to those in our respective communities, both in-person and online, we hope to touch on the space of 'homeness' to unearth deeper awareness of what home may mean in different contexts and from different perspectives and positionalities.","dialogic decolonial pedagogic practice","translocal connectivity","deep hanging out",{"_type":9,"current":7182},"a-poetry-of-homing",{"_id":7184,"_type":838,"categories":7185,"credits":7209,"featuredImage":7535,"filterables":7539,"footnotes":7550,"locations":7551,"logbook":7,"pageBuilder":7555,"researchQuestion":7,"researchQuestions":7705,"searchables":7736,"seo":7,"slug":7745,"title":7747,"year":102},"cfa8640c-6d9f-436f-85ba-34ce4b24fac7",[7186,7193,7196,7199,7206],{"_id":7187,"_type":293,"colorPrimary":7188,"seo":7,"slug":7190,"title":7192},"68fc4bda-1fbb-44cf-832e-9a17905c1771",{"label":295,"value":7189},"#8cff8c",{"_type":9,"current":7191},"etherport","EtherPort",{"_id":5928,"_type":293,"colorPrimary":7194,"seo":7,"slug":7195,"title":5933},{"label":295,"value":5930},{"_type":9,"current":5932},{"_id":4641,"_type":293,"colorPrimary":7197,"seo":7,"slug":7198,"title":4646},{"label":295,"value":4643},{"_type":9,"current":4645},{"_id":7200,"_type":293,"colorPrimary":7201,"seo":7,"slug":7203,"title":7205},"e12273b7-8dba-4489-a7ed-3899e8f11858",{"label":295,"value":7202},"#ff4b00",{"_type":9,"current":7204},"mutual-aid","Mutual Support",{"_id":4109,"_type":293,"colorPrimary":7207,"seo":7,"slug":7208,"title":4114},{"label":295,"value":4111},{"_type":9,"current":4113},{"other":7210,"profiles":7243},[7211,7219,7231],{"_key":7212,"_type":219,"children":7213,"markDefs":7218,"style":232},"092bbc3df958",[7214],{"_key":7215,"_type":223,"marks":7216,"text":7217},"7911759cd185",[225],"ÉTÈ Institute (Eternal Terra Ear) Consultant (Internal Advisor):",[],{"_key":7220,"_type":219,"children":7221,"markDefs":7230,"style":232},"24f2e9167af7",[7222,7226],{"_key":7223,"_type":223,"marks":7224,"text":7225},"cc80340cffa50",[225],"Mónica Avella ",{"_key":7227,"_type":223,"marks":7228,"text":7229},"af96a7a956f50",[],"International lawyer, policy advisor, and strategist access to justice, women’s empowerment, and humanitarian action across Latin America, Europe, and globally. She holds a MPP from the London School of Economics (LSE), where she founded the Women & Well-Being Forum 2025 with the Colombian Society. Mónica has collaborated with leading international organizations, including UN Women, OHCHR, USAID, Chemonics International, and Sorbonne ONU. Currently, Mónica is developing her involvement with ETENS’ Women’s Entrepreneurship Accelerator.",[],{"_key":7232,"_type":219,"children":7233,"markDefs":7242,"style":232},"d766abb8767f",[7234,7238],{"_key":7235,"_type":223,"marks":7236,"text":7237},"44be2e3f3ece",[225],"Komun.aes ",{"_key":7239,"_type":223,"marks":7240,"text":7241},"964a3fea050f",[],"Security, anti-capitalism & community self-defense project.",[],[7244,7371,7423,7468],{"_id":7245,"_type":310,"activeYears":7246,"bio":7249,"bioShort":7338,"featuredImage":7339,"filterables":7346,"links":7349,"locations":7360,"searchables":7366,"seo":7,"slug":7368,"title":7370},"89121237-4017-4e9f-8f8b-2ce6b85426c7",[7247],{"_id":98,"_type":99,"seo":7,"slug":7248,"title":102},{"_type":9,"current":101},[7250,7258,7266,7282,7290,7298,7306,7322,7330],{"_key":7251,"_type":219,"children":7252,"markDefs":7257,"style":232},"1aad022395a5",[7253],{"_key":7254,"_type":223,"marks":7255,"text":7256},"47ec83de4a180",[],"I am a systems artist, social architect, and independent writing activist dedicated to investigating how technical and cultural infrastructures can be re-imagined through collective governance. As the founder and lead of Eternal Terra Ear (ÉTÈ), I spearhead a transnational policy initiative that bridges the gap between planetary-scale data and local sovereignty.",[],{"_key":7259,"_type":219,"children":7260,"markDefs":7265,"style":232},"cf355e1e1ec8",[7261],{"_key":7262,"_type":223,"marks":7263,"text":7264},"4c40742e9fdc0",[],"My Practice",[],{"_key":7267,"_type":219,"children":7268,"markDefs":7281,"style":232},"4e9c839509a8",[7269,7273,7277],{"_key":7270,"_type":223,"marks":7271,"text":7272},"2f3737cb934d0",[],"My work focuses on the creation of a \"Trust Layer\", a systemic protocol that integrates orbital remote sensing, transnational cryptography, and sensory intelligence. I utilize tools such as satellite data, drone photogrammetry, and decentralized ledgers to transform invisible environmental signals into verifiable \"Digital Twins\". A core component of my practice is Bio-synaesthesia, where I use ecological intelligent devices like the ",{"_key":7274,"_type":223,"marks":7275,"text":7276},"2f3737cb934d7",[663],"Visceral Sonic Oyster",{"_key":7278,"_type":223,"marks":7279,"text":7280},"2f3737cb934d8",[]," to translate complex data into spatialized acoustic and haptic experiences, allowing communities to \"feel\" the health of their ecosystems.",[],{"_key":7283,"_type":219,"children":7284,"markDefs":7289,"style":232},"c1abd25d502e",[7285],{"_key":7286,"_type":223,"marks":7287,"text":7288},"a77256a6d1f60",[],"Current Research Interests",[],{"_key":7291,"_type":219,"children":7292,"level":2019,"listItem":2020,"markDefs":7297,"style":232},"babf76c12239",[7293],{"_key":7294,"_type":223,"marks":7295,"text":7296},"6e77003985ce0",[],"Experimental Governance & Policy Co-Creation: Researching how collective policy-writing can serve as a creative practice to build inclusive, transborder infrastructures.",[],{"_key":7299,"_type":219,"children":7300,"level":2019,"listItem":2020,"markDefs":7305,"style":232},"e917a9a9bcad",[7301],{"_key":7302,"_type":223,"marks":7303,"text":7304},"8e224542b3630",[],"Sovereign Observation: Investigating ways to shift environmental monitoring from top-down surveillance to community-led verification systems.",[],{"_key":7307,"_type":219,"children":7308,"level":2019,"listItem":2020,"markDefs":7321,"style":232},"21f9ccb4d7f0",[7309,7313,7317],{"_key":7310,"_type":223,"marks":7311,"text":7312},"b8140191753e0",[],"Post-Humanitarian Infrastructure: Exploring the role of underground economies, collective mourning (",{"_key":7314,"_type":223,"marks":7315,"text":7316},"b8140191753e2",[663],"gham",{"_key":7318,"_type":223,"marks":7319,"text":7320},"b8140191753e3",[],"), and self-reliance in the design of future planetary systems.",[],{"_key":7323,"_type":219,"children":7324,"level":2019,"listItem":2020,"markDefs":7329,"style":232},"507f52f4b2b0",[7325],{"_key":7326,"_type":223,"marks":7327,"text":7328},"fd5499f1cf900",[],"Transnational Data Ethics: Analyzing the privacy implications and \"Privacy-by-Design\" requirements of planetary-scale sensing in collaboration with institutions like CPDP Brussels and IMPAKT NL.",[],{"_key":7331,"_type":219,"children":7332,"markDefs":7337,"style":232},"1d67cafb0c65",[7333],{"_key":7334,"_type":223,"marks":7335,"text":7336},"5e46219176f50",[],"My practice currently scales through a series of 2026 fellowships, including the CultTech Lab (Vienna), School of Commons (Zurich), and the CODE Program (Brussels/Utrecht), where I continue to develop the \"International Sky Hub\" as a model for global互联 (interconnected) trust.",[],"Yidi is a systems artist and architect work through large scale infrastructure, transnational cryptography, defining the \"Critical Sovereign Cooperation\".\n",{"alt":7,"asset":7340},{"_id":7341,"height":7342,"orientation":492,"ratio":7343,"url":7344,"width":7345},"image-fe4a6579c4c0c3c49b02788cb7525744d2796390-664x692-jpg",692,0.9595375722543352,"https://cdn.sanity.io/images/eodip22e/production/fe4a6579c4c0c3c49b02788cb7525744d2796390-664x692.jpg",664,{"filterYear":7347},[7348],{"_id":98,"title":102},[7350,7352,7355,7358],{"_type":396,"label":403,"url":7351},"https://www.instagram.com/yidi.lola/",{"_type":396,"label":7353,"url":7354},"Eternal Terra Ear (ÉTÈ)","https://www.instagram.com/eternal_terra_ear/",{"_type":396,"label":7356,"url":7357},"Personal Linktree","https://linktr.ee/yidi.lola",{"_type":396,"label":397,"url":7359},"https://ete.institute/",{"locations":7361,"other":7},[7362,7364],{"_id":3631,"_type":409,"seo":7,"slug":7363,"title":3634},{"_type":9,"current":3633},{"_id":408,"_type":409,"seo":7,"slug":7365,"title":412},{"_type":9,"current":411},[7367,101],"yidi lola ",{"_type":9,"current":7369},"yidi-lola","Yidi Lola ",{"_id":7372,"_type":310,"activeYears":7373,"bio":7376,"bioShort":7393,"featuredImage":7394,"filterables":7400,"links":7403,"locations":7406,"searchables":7419,"seo":7,"slug":7421,"title":7395},"ad3a4bd5-2451-464c-a588-07fb59ea7823",[7374],{"_id":98,"_type":99,"seo":7,"slug":7375,"title":102},{"_type":9,"current":101},[7377,7385],{"_key":7378,"_type":219,"children":7379,"markDefs":7384,"style":232},"7634d22c89b4",[7380],{"_key":7381,"_type":223,"marks":7382,"text":7383},"50d57dd24e2c0",[],"Fatemeh (she/they, b. 1992, Tehran)—also known as Afimoh—is an interdisciplinary artist and researcher whose practice spans material fabrication, fiction writing, archiving, filming, curating, organizing, and hosting. Her work engages with themes of communal grief or غم (/gham/), underground economies, kitsch Iranian visual culture, ritual, and subculture. Developed through conversation and community-oriented collaborations, her approach is deeply rooted in collective experiences.",[],{"_key":7386,"_type":219,"children":7387,"markDefs":7392,"style":232},"069b02e36b54",[7388],{"_key":7389,"_type":223,"marks":7390,"text":7391},"3ca97dfd86730",[],"Kazemi earned a BFA in Painting from the University of Tehran (2014) and an MFA in Studio Art from Syracuse University (2024). Her work moves fluidly across worlds, blending installation, lens-based media, and the poetic flow of creative writing. She has exhibited at Parallel Circuit Space (Tehran), SUB Community (Çanakkale), Ruschman Gallery (Chicago), Navel LA (Los Angeles), Smack Mellon (New York), Bayt Al Mamzar (Dubai), Cue Art Foundation(New York), ISP Whitney (New York), and Sharjah Art Foundation (Sharjah). Her experimental films have been screened at the London Short Film Festival, CulturalHub (New York), LUX Book Fair (London), Dresden Film Festival, Everson Museum of Art (Syracuse), and Foundry By Emaar (Dubai), among other venues.",[],"Fatemeh (she/they, b. 1992, Tehran)—also known as Afimoh—is an interdisciplinary artist and researcher whose practice spans material fabrication, fiction writing, archiving, filming, curating, organizing, and hosting. ",{"alt":7395,"asset":7396},"Fatemeh Kazemi فاطمه کاظمی ",{"_id":7397,"height":3621,"orientation":492,"ratio":493,"url":7398,"width":7399},"image-2fdb6d82f57f6e964257b2bac7c83cea3343e70a-768x1024-jpg","https://cdn.sanity.io/images/eodip22e/production/2fdb6d82f57f6e964257b2bac7c83cea3343e70a-768x1024.jpg",768,{"filterYear":7401},[7402],{"_id":98,"title":102},[7404],{"_type":396,"label":397,"url":7405},"https://linktr.ee/Afimoh",{"locations":7407,"other":7410},[7408],{"_id":408,"_type":409,"seo":7,"slug":7409,"title":412},{"_type":9,"current":411},[7411],{"_key":7412,"_type":219,"children":7413,"markDefs":7418,"style":232},"bb72447175b0",[7414],{"_key":7415,"_type":223,"marks":7416,"text":7417},"6eff382ebe14",[],"Between Brussel and Berlin",[],[7420,101],"fatemeh kazemi فاطمه کاظمی ",{"_type":9,"current":7422},"fatemeh-kazemi",{"_id":7424,"_type":310,"activeYears":7425,"bio":7428,"bioShort":7437,"featuredImage":7438,"filterables":7445,"links":7448,"locations":7451,"searchables":7463,"seo":7,"slug":7465,"title":7467},"8647ab68-6bf2-4ccb-8dc9-e0289006ea29",[7426],{"_id":98,"_type":99,"seo":7,"slug":7427,"title":102},{"_type":9,"current":101},[7429],{"_key":7430,"_type":219,"children":7431,"markDefs":7436,"style":232},"6af01e9ae403",[7432],{"_key":7433,"_type":223,"marks":7434,"text":7435},"5f5c899fdfff0",[],"Joaquina Salgado (b. 1995, Argentina) is a new media artist based in Berlin whose work explores the intersections of technology, philosophy, and science. She studied Media Arts at the Universidad Nacional de La Plata (UNLP). Combining motion capture, game engines, and custom-built interfaces, she creates interactive installations and virtual environments that question how perception and identity are shaped by technological systems. Her projects have been presented at MUTEK (Buenos Aires, Montreal), Berlin Art Week, and the APAP7 Triennial in Korea, with recent support from Pro Helvetia and the British Council. She presented a solo exhibition at SOMA Berlin in December 2025 and is a member of Amplify D.A.I., a network of women artists and curators in digital arts.",[],"Joaquina (b. 1995, Argentina) is a new media artist based in Berlin whose work explores the intersections of technology, philosophy, and science. She studied Media Arts at the Universidad Nacional de La Plata (UNLP). ",{"alt":7439,"asset":7440},"inclusi(ve)space",{"_id":7441,"height":3676,"orientation":492,"ratio":7442,"url":7443,"width":7444},"image-ba4d3e0f17045c50522b07cc63c00d826558cc14-1066x1600-jpg",0.66625,"https://cdn.sanity.io/images/eodip22e/production/ba4d3e0f17045c50522b07cc63c00d826558cc14-1066x1600.jpg",1066,{"filterYear":7446},[7447],{"_id":98,"title":102},[7449],{"_type":396,"label":397,"url":7450},"https://joaquinasalgado.com/",{"locations":7452,"other":7455},[7453],{"_id":408,"_type":409,"seo":7,"slug":7454,"title":412},{"_type":9,"current":411},[7456],{"_key":7457,"_type":219,"children":7458,"markDefs":7462,"style":232},"0e5e698cfe29",[7459],{"_key":7460,"_type":223,"marks":7461,"text":420},"f37e49635cbd",[],[],[7464,101],"joaquina salgado",{"_type":9,"current":7466},"joaquina-salgado","Joaquina Salgado",{"_id":7469,"_type":310,"activeYears":7470,"bio":7473,"bioShort":7514,"featuredImage":7515,"filterables":7520,"links":7523,"locations":7526,"searchables":7530,"seo":7,"slug":7532,"title":7534},"a6f4eb4e-6918-4621-82ae-c80a09c07d70",[7471],{"_id":98,"_type":99,"seo":7,"slug":7472,"title":102},{"_type":9,"current":101},[7474,7482,7490,7498,7506],{"_key":7475,"_type":219,"children":7476,"markDefs":7481,"style":232},"c8fc7b0ed6ac",[7477],{"_key":7478,"_type":223,"marks":7479,"text":7480},"92a7615f4ac9",[],"ÉROTÌQ is a Rome-based audiovisual project that fuses glitchy noise-pop music with symbolic and unsettling imagery. On a thematic level, it offers a total immersion in the cynicism and hypocrisy of the contemporary world, tracing the collapse of symbolic structures and the nihilistic drift of mass society.",[],{"_key":7483,"_type":219,"children":7484,"markDefs":7489,"style":232},"a51b7956e96a",[7485],{"_key":7486,"_type":223,"marks":7487,"text":7488},"e85aeb52c9050",[],"It operates as an apotropaic ritual within the landscape of hyperreality, of biotechnologies, epigenetics, algorithmic sexual selection, mass pornography, terrorism, and emerging conspiracy theories.",[],{"_key":7491,"_type":219,"children":7492,"markDefs":7497,"style":232},"016318c4b0fa",[7493],{"_key":7494,"_type":223,"marks":7495,"text":7496},"9b14682119cc0",[],"The visual material is drawn from years of research and collection of raw footage found online. YouTube videos sourced from marginal and hard-to-access channels documenting fragments of rarefied, unsettling realities often far removed from the Western imaginary. In this sense, the internet, an aseptic and mechanical tool, paradoxically becomes a means of reawakening a more primal sense of wonder: a childlike, archaic, almost spiritual curiosity toward the world, largely lost in everyday perception.",[],{"_key":7499,"_type":219,"children":7500,"markDefs":7505,"style":232},"c254ae15d90e",[7501],{"_key":7502,"_type":223,"marks":7503,"text":7504},"34a9067a690b0",[],"This visual archive is then reworked through artificial intelligence, which fragments, distorts, and expands it, mirroring the treatment of percussion and ethnic samples within the music.",[],{"_key":7507,"_type":219,"children":7508,"markDefs":7513,"style":232},"94b64c77d487",[7509],{"_key":7510,"_type":223,"marks":7511,"text":7512},"b3e458a8ecde0",[],"At this point, sound and image synchronize and respond to one another, forming a single flow of abrasive sensory saturation, echoing the overstimulating logic of social media itself. The result is a testament to the contemporary: not a judgmental representation, but a sublimation of the absurdity we are now experiencing without being able to understand.",[],"ÉROTÌQ is a Rome-based audiovisual project that fuses glitchy noise-pop music with symbolic and unsettling imagery. ",{"alt":7,"asset":7516},{"_id":7517,"height":2694,"orientation":7518,"ratio":2019,"url":7519,"width":2694},"image-2a23158775957f57ebfa6d3a79645511f5b2bc1d-1080x1080-png","square","https://cdn.sanity.io/images/eodip22e/production/2a23158775957f57ebfa6d3a79645511f5b2bc1d-1080x1080.png",{"filterYear":7521},[7522],{"_id":98,"title":102},[7524],{"_type":396,"label":397,"url":7525},"https://obvious-commit-994079.framer.app/",{"locations":7527,"other":7},[7528],{"_id":408,"_type":409,"seo":7,"slug":7529,"title":412},{"_type":9,"current":411},[7531,101],"érotìq",{"_type":9,"current":7533},"emiiliano-toulouze","ÉROTÌQ",{"alt":7,"asset":7536},{"_id":7537,"height":3824,"orientation":7518,"ratio":2019,"url":7538,"width":3824},"image-0a6bbe6a304723932b45cb7d9a41e35a2794620f-960x960-jpg","https://cdn.sanity.io/images/eodip22e/production/0a6bbe6a304723932b45cb7d9a41e35a2794620f-960x960.jpg",{"filterCategory":7540,"filterLocation":7546,"filterYear":7548},[7541,7542,7543,7544,7545],{"_id":7187,"title":7192},{"_id":5928,"title":5933},{"_id":4641,"title":4646},{"_id":7200,"title":7205},{"_id":4109,"title":4114},[7547],{"_id":1962,"title":1963},[7549],{"_id":98,"title":102},[],{"locations":7552,"other":7},[7553],{"_id":1962,"_type":409,"seo":7,"slug":7554,"title":1963},{"_type":9,"current":1971},[7556,7567,7646,7660,7674,7688],{"_type":1451,"settings":7557,"text":7558},{"textColumnCount":1453},[7559],{"_key":7560,"_type":219,"children":7561,"markDefs":7566,"style":232},"56c08e6fe9e8",[7562],{"_key":7563,"_type":223,"marks":7564,"text":7565},"477f287fdc1a0",[],"ETE Institute (Eternal Terra Ear / 永土耳) is a research-led collective that architecturalizes institutional policy and stratospheric geopolitics into 3D hyperbolic geometry. By decoding the \"weaponized computational structures\" of international tech-transfers, the institute investigates the interlinkage between nuclear strategic rationality and digital surveillance regimes. Operating on the principle of \"Sovereignty by Design,\" ETE seeks to transform extractive post-humanitarian infrastructures into sovereign compositions where equilibrium—not output product—is the primary measure of systemic health.",[],{"_type":1451,"settings":7568,"text":7569},{"textColumnCount":1453},[7570,7582,7590,7598,7606,7614,7622,7630,7638],{"_key":7571,"_type":219,"children":7572,"markDefs":7581,"style":232},"63045f2e11f6",[7573,7577],{"_key":7574,"_type":223,"marks":7575,"text":7576},"ecbf3a16365a",[],"ÉTÈ Institute (Eternal Terra Ear):",{"_key":7578,"_type":223,"marks":7579,"text":7580},"9c4dff4006d50",[225],"\"Post Humanitarian Infrastructure\"",[],{"_key":7583,"_type":219,"children":7584,"markDefs":7589,"style":232},"eec8aaca3179",[7585],{"_key":7586,"_type":223,"marks":7587,"text":7588},"7e03958a85e90",[663],"The concept of Post-Humanitarian Infrastructure marks a transition from aid as a \"gift\" to aid as an extractive \"protocol,\" where humanitarianism is increasingly architecturalized through data stacks, biometric verification, and algorithmic mapping. This infrastructure operates as a nuclear-informed density, utilizing a strategic rationality that dissolves the boundary between human and machine decision-making to govern displaced populations. Unlike traditional humanitarianism grounded in physical presence, this post-humanitarian condition is rooted in the extraction of intelligence and energy, treating refugees as displaced infrastructural redundancy within state and techno-capitalist regimes.",[],{"_key":7591,"_type":219,"children":7592,"markDefs":7597,"style":232},"0571112491e0",[7593],{"_key":7594,"_type":223,"marks":7595,"text":7596},"5220ca6cb2380",[225],"Aid-as-Interface",[],{"_key":7599,"_type":219,"children":7600,"markDefs":7605,"style":232},"e30f20f82012",[7601],{"_key":7602,"_type":223,"marks":7603,"text":7604},"67a35d8aa3580",[663],"It transforms basic survival tools into points of capture, such as iris scanners and blockchain ledgers, which function as automated command networks mirroring bureaucratic surveillance regimes. These systems create a problem of permanence by establishing a \"Sovereign Layer\" that exists outside the laws of the host country, governed by international tech-transfers and private contractors who utilize simulation as a middle layer to connect tactics with strategies.",[],{"_key":7607,"_type":219,"children":7608,"markDefs":7613,"style":232},"1df6eee24aeb",[7609],{"_key":7610,"_type":223,"marks":7611,"text":7612},"5adb7d3ecc650",[225],"Weaponized zoning",[],{"_key":7615,"_type":219,"children":7616,"markDefs":7621,"style":232},"49267577730c",[7617],{"_key":7618,"_type":223,"marks":7619,"text":7620},"9569aad140ee0",[],"extends this logic by drawing digital enclosures through GPS geofencing and real-time monitoring, dividing territories into \"safe\" or \"quarantined\" zones to restrict movement through the use of geometry. This zoning now moves vertically along a stratospheric axis, where high-altitude platforms create \"islands of access\" and \"vertical mediations\" that define atmospheres of unbelonging through selective connectivity and data blackouts.",[],{"_key":7623,"_type":219,"children":7624,"markDefs":7629,"style":232},"2bab0e452f11",[7625],{"_key":7626,"_type":223,"marks":7627,"text":7628},"da38ff7a07fa0",[225],"From Survival to Measurable Biometric Protocols",[],{"_key":7631,"_type":219,"children":7632,"markDefs":7637,"style":232},"7bc55da7019f",[7633],{"_key":7634,"_type":223,"marks":7635,"text":7636},"62871de3f30f0",[],"Identity systems function as the most intimate layer of this infrastructure, tying human survival to biometric protocols that turn the individual into a spatial node within a weaponized system. This creates an extractive identity where the state-led algorithm knows the subject better than the subject knows the system, neutralizing digital epistemology to control displaced populations as part of broader security architectures.",[],{"_key":7639,"_type":219,"children":7640,"markDefs":7645,"style":232},"7b0c1b7e4309",[7641],{"_key":7642,"_type":223,"marks":7643,"text":7644},"ac5826e350080",[],"The ETE Institute perceives these systems as weaponized computational structures that thrive on the enforced separation of the subject from the governing code. By architecturalizing these relations into hyperbolic geometry, the research aims to reveal that systemic friction is a deliberate feature of extractive governance. Through agentic resistance and sovereignty by design, the goal is to transform weaponized zones into sovereign compositions where the geometry of identity is built on equilibrium rather than technocratic control.",[],{"_type":1447,"caption":7647,"image":7655},[7648],{"_key":7649,"_type":219,"children":7650,"markDefs":7654,"style":232},"4e296c27e8a4",[7651],{"_key":7652,"_type":223,"marks":7653,"text":3061},"68bb0b8134db",[],[],{"alt":7,"asset":7656},{"_id":7657,"height":7658,"orientation":492,"ratio":780,"url":7659,"width":2694},"image-b58264fb0b9f3c920229f9ae37b9dc52860387e6-1080x1350-jpg",1350,"https://cdn.sanity.io/images/eodip22e/production/b58264fb0b9f3c920229f9ae37b9dc52860387e6-1080x1350.jpg",{"_type":1447,"caption":7661,"image":7670},[7662],{"_key":7663,"_type":219,"children":7664,"markDefs":7669,"style":232},"979cab754cf0",[7665],{"_key":7666,"_type":223,"marks":7667,"text":7668},"3cef78d81bc1",[],"contents",[],{"alt":7,"asset":7671},{"_id":7672,"height":7658,"orientation":492,"ratio":780,"url":7673,"width":2694},"image-ec935cc3d053dc80ac4c36ca68e3df684acd0d70-1080x1350-jpg","https://cdn.sanity.io/images/eodip22e/production/ec935cc3d053dc80ac4c36ca68e3df684acd0d70-1080x1350.jpg",{"_type":1447,"caption":7675,"image":7684},[7676],{"_key":7677,"_type":219,"children":7678,"markDefs":7683,"style":232},"a2691843770c",[7679],{"_key":7680,"_type":223,"marks":7681,"text":7682},"cf818e37e531",[],"Crisis Economy Symposium: Berlin Science Week 2025",[],{"alt":7,"asset":7685},{"_id":7686,"height":2694,"orientation":7518,"ratio":2019,"url":7687,"width":2694},"image-ebf7ad10945cb496f59b7b3ec6d9f39eae1fdf1b-1080x1080-jpg","https://cdn.sanity.io/images/eodip22e/production/ebf7ad10945cb496f59b7b3ec6d9f39eae1fdf1b-1080x1080.jpg",{"_type":1447,"caption":7689,"image":7698},[7690],{"_key":7691,"_type":219,"children":7692,"markDefs":7697,"style":232},"bf36bd8e932a",[7693],{"_key":7694,"_type":223,"marks":7695,"text":7696},"9a5ab75d266d",[],"Esoteric performance by @iphone7segrey",[],{"alt":7,"asset":7699},{"_id":7700,"height":7701,"orientation":383,"ratio":7702,"url":7703,"width":7704},"image-9b78eae794ee4c6571a850b599edfa24d7eabf88-1326x851-png",851,1.5581668625146885,"https://cdn.sanity.io/images/eodip22e/production/9b78eae794ee4c6571a850b599edfa24d7eabf88-1326x851.png",1326,[7706,7716,7726],{"_type":1559,"question":7707},[7708],{"_key":7709,"_type":219,"children":7710,"markDefs":7715,"style":232},"bd4521269e3b",[7711],{"_key":7712,"_type":223,"marks":7713,"text":7714},"70358ef4e9ac0",[],"How do decentralized governance tools enable novel cultural collaboration and mutual aid? ",[],{"_type":1559,"question":7717},[7718],{"_key":7719,"_type":219,"children":7720,"markDefs":7725,"style":232},"3289cc3db428",[7721],{"_key":7722,"_type":223,"marks":7723,"text":7724},"dd3171b4fcae",[],"How does Eternal Terra Ears focus on comparative culture promote cross-cultural dialogue and solidarity, especially among marginalized groups?",[],{"_type":1559,"question":7727},[7728],{"_key":7729,"_type":219,"children":7730,"markDefs":7735,"style":232},"029061955533",[7731],{"_key":7732,"_type":223,"marks":7733,"text":7734},"6282bc9cb18a0",[],"What's the structure of a Post-Humanitarian system?",[],[7737,101,7738,7739,7740,1971,7367,7420,7464,7531,7741,7742,7743,7191,6169,4882,7744,4340],"étè institute (eternal terra ear)","how do decentralized governance tools enable novel cultural collaboration and mutual aid? ","how does eternal terra ears focus on comparative culture promote cross-cultural dialogue and solidarity, especially among marginalized groups?","what's the structure of a post-humanitarian system?","étè institute (eternal terra ear) consultant (internal advisor):\n\nmónica avella international lawyer, policy advisor, and strategist access to justice, women’s empowerment, and humanitarian action across latin america, europe, and globally. she holds a mpp from the london school of economics (lse), where she founded the women & well-being forum 2025 with the colombian society. mónica has collaborated with leading international organizations, including un women, ohchr, usaid, chemonics international, and sorbonne onu. currently, mónica is developing her involvement with etens’ women’s entrepreneurship accelerator.\n\nkomun.aes security, anti-capitalism & community self-defense project.","ete institute (eternal terra ear / 永土耳) is a research-led collective that architecturalizes institutional policy and stratospheric geopolitics into 3d hyperbolic geometry. by decoding the \"weaponized computational structures\" of international tech-transfers, the institute investigates the interlinkage between nuclear strategic rationality and digital surveillance regimes. operating on the principle of \"sovereignty by design,\" ete seeks to transform extractive post-humanitarian infrastructures into sovereign compositions where equilibrium—not output product—is the primary measure of systemic health.","étè institute (eternal terra ear):\"post humanitarian infrastructure\"\n\nthe concept of post-humanitarian infrastructure marks a transition from aid as a \"gift\" to aid as an extractive \"protocol,\" where humanitarianism is increasingly architecturalized through data stacks, biometric verification, and algorithmic mapping. this infrastructure operates as a nuclear-informed density, utilizing a strategic rationality that dissolves the boundary between human and machine decision-making to govern displaced populations. unlike traditional humanitarianism grounded in physical presence, this post-humanitarian condition is rooted in the extraction of intelligence and energy, treating refugees as displaced infrastructural redundancy within state and techno-capitalist regimes.\n\naid-as-interface\n\nit transforms basic survival tools into points of capture, such as iris scanners and blockchain ledgers, which function as automated command networks mirroring bureaucratic surveillance regimes. these systems create a problem of permanence by establishing a \"sovereign layer\" that exists outside the laws of the host country, governed by international tech-transfers and private contractors who utilize simulation as a middle layer to connect tactics with strategies.\n\nweaponized zoning\n\nextends this logic by drawing digital enclosures through gps geofencing and real-time monitoring, dividing territories into \"safe\" or \"quarantined\" zones to restrict movement through the use of geometry. this zoning now moves vertically along a stratospheric axis, where high-altitude platforms create \"islands of access\" and \"vertical mediations\" that define atmospheres of unbelonging through selective connectivity and data blackouts.\n\nfrom survival to measurable biometric protocols\n\nidentity systems function as the most intimate layer of this infrastructure, tying human survival to biometric protocols that turn the individual into a spatial node within a weaponized system. this creates an extractive identity where the state-led algorithm knows the subject better than the subject knows the system, neutralizing digital epistemology to control displaced populations as part of broader security architectures.\n\nthe ete institute perceives these systems as weaponized computational structures that thrive on the enforced separation of the subject from the governing code. by architecturalizing these relations into hyperbolic geometry, the research aims to reveal that systemic friction is a deliberate feature of extractive governance. through agentic resistance and sovereignty by design, the goal is to transform weaponized zones into sovereign compositions where the geometry of identity is built on equilibrium rather than technocratic control.","mutual support",{"_type":9,"current":7746},"ete-institute-eternal-terra-ear","ÉTÈ Institute (Eternal Terra Ear)",{"locations":7749,"other":7},[7750],{"_id":408,"_type":409,"seo":7,"slug":7751,"title":412},{"_type":9,"current":411},[7753,7761,7796,7804,7831],{"_type":1447,"caption":7,"image":7754},{"alt":7,"asset":7755},{"_id":7756,"height":7757,"orientation":383,"ratio":7758,"url":7759,"width":7760},"image-48b57c7c68018ac56c48f3f8f31d8e63f33c91f8-2002x1492-png",1492,1.341823056300268,"https://cdn.sanity.io/images/eodip22e/production/48b57c7c68018ac56c48f3f8f31d8e63f33c91f8-2002x1492.png",2002,{"_type":1451,"settings":7762,"text":7763},{"textColumnCount":1453},[7764,7772,7780,7788],{"_key":7765,"_type":219,"children":7766,"markDefs":7771,"style":232},"7396297a64dd",[7767],{"_key":7768,"_type":223,"marks":7769,"text":7770},"9dcd9ae6d2320",[],"This July, we began our annual Gathering with a visit to CERN IdeaSquare in Geneva, continuing our collaboration with CERN for a second year.",[],{"_key":7773,"_type":219,"children":7774,"markDefs":7779,"style":232},"367f64b84ac3",[7775],{"_key":7776,"_type":223,"marks":7777,"text":7778},"d52ed72e85b20",[],"Across four sessions — three online and one in person — participants worked in interdisciplinary teams, co-facilitated by CERN and School of Commons, to imagine bold responses to complex societal challenges. Together, they explored what it might take to build a new society from the ground up, considering questions of governance, education, healthcare, infrastructure, ecology, and collective care.",[],{"_key":7781,"_type":219,"children":7782,"markDefs":7787,"style":232},"8903c36c5ac3",[7783],{"_key":7784,"_type":223,"marks":7785,"text":7786},"e789fd949dca0",[],"During the in-person workshop at CERN, participants also met students from the Stony Brook Center, who were exploring related challenges in parallel. The exchange created an opportunity to share perspectives across disciplines and institutions before everyone travelled on to Zurich for the School of Commons Gathering.",[],{"_key":7789,"_type":219,"children":7790,"markDefs":7795,"style":232},"307cab913258",[7791],{"_key":7792,"_type":223,"marks":7793,"text":7794},"99b7438ba9090",[],"Over the following three days, our community gathered to share practices, exchange methods, and reflect on what it means to learn, create, and organise in common.",[],{"_type":1447,"caption":7,"image":7797},{"alt":7,"asset":7798},{"_id":7799,"height":7800,"orientation":383,"ratio":7801,"url":7802,"width":7803},"image-a9a20e78fea5ca3b05dd09f4455a56c0817e8bfe-2396x1476-png",1476,1.6233062330623307,"https://cdn.sanity.io/images/eodip22e/production/a9a20e78fea5ca3b05dd09f4455a56c0817e8bfe-2396x1476.png",2396,{"_type":1451,"settings":7805,"text":7806},{"textColumnCount":1453},[7807,7815,7823],{"_key":7808,"_type":219,"children":7809,"markDefs":7814,"style":232},"5d6e4cdf408d",[7810],{"_key":7811,"_type":223,"marks":7812,"text":7813},"51edefb844970",[],"Over four days, we shared conversations, workshops, walks, meals, moments of experimentation, and quiet reflection.",[],{"_key":7816,"_type":219,"children":7817,"markDefs":7822,"style":232},"dd02b53b0f4a",[7818],{"_key":7819,"_type":223,"marks":7820,"text":7821},"fb688f7bf9340",[],"What stays with us isn’t simply the programme, but the generosity, attentiveness, curiosity, and openness everyone brought. Thank you for showing up with your full selves and for helping to create a space where learning could unfold through trust, care, and exchange.",[],{"_key":7824,"_type":219,"children":7825,"markDefs":7830,"style":232},"17196f4a937b",[7826],{"_key":7827,"_type":223,"marks":7828,"text":7829},"674c3881d48e0",[],"The Gathering reminded us that School of Commons is more than a programme — it is a community, shaped through relationships, mutual learning, and collective care. Thank you to everyone who made this year’s Gathering so meaningful.",[],{"_type":1447,"caption":7,"image":7832},{"alt":7,"asset":7833},{"_id":7834,"height":7835,"orientation":383,"ratio":7836,"url":7837,"width":7838},"image-5ab3f2cf0da3358cff1c2bb94fec02d1cf5f3eeb-2016x1266-png",1266,1.5924170616113744,"https://cdn.sanity.io/images/eodip22e/production/5ab3f2cf0da3358cff1c2bb94fec02d1cf5f3eeb-2016x1266.png",2016,[7840,411,298,4612,7841,7842,7843,7844,423,517,602,716,811],"soc gathering, 2026","program","from gatherings in geneva and zurich to new collaborations, public programmes, and opportunities to connect — thank you to each and every one of you for continuing to shape school of commons with your curiosity, generosity, and care.","this july, we began our annual gathering with a visit to cern ideasquare in geneva, continuing our collaboration with cern for a second year.\n\nacross four sessions — three online and one in person — participants worked in interdisciplinary teams, co-facilitated by cern and school of commons, to imagine bold responses to complex societal challenges. together, they explored what it might take to build a new society from the ground up, considering questions of governance, education, healthcare, infrastructure, ecology, and collective care.\n\nduring the in-person workshop at cern, participants also met students from the stony brook center, who were exploring related challenges in parallel. the exchange created an opportunity to share perspectives across disciplines and institutions before everyone travelled on to zurich for the school of commons gathering.\n\nover the following three days, our community gathered to share practices, exchange methods, and reflect on what it means to learn, create, and organise in common.","over four days, we shared conversations, workshops, walks, meals, moments of experimentation, and quiet reflection.\n\nwhat stays with us isn’t simply the programme, but the generosity, attentiveness, curiosity, and openness everyone brought. thank you for showing up with your full selves and for helping to create a space where learning could unfold through trust, care, and exchange.\n\nthe gathering reminded us that school of commons is more than a programme — it is a community, shaped through relationships, mutual learning, and collective care. thank you to everyone who made this year’s gathering so meaningful.",{"_type":9,"current":7846},"soc-gathering-2026","From gatherings in Geneva and Zurich to new collaborations, public programmes, and opportunities to connect — thank you to each and every one of you for continuing to shape School of Commons with your curiosity, generosity, and care.",[7849],{"_id":833,"_type":7850,"seo":7,"slug":7851,"title":834},"filterType",{"_type":9,"current":7841},1784723505246]