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    Susanne Bosch  
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The Collaborative Arts Partnership Programme (CAPP) is an ambitious transnational cultural programme focusing on the dynamic area of collaborative arts. The overall goal of CAPP is to improve and open up opportunities for artists who are working collaboratively across Europe, by enhancing mobility and exchange whilst at the same time engaging new publics and audiences for collaborative practices. The different strands of the CAPP programme consist of national and international professional development opportunities, artist residencies, commissioned works, public presentations and debates, and a major showcase to be held in 2018. Throughout the partner communities CAPP will provide creative spaces with the potential to bring out new conversations, meaningful relationships and transformative forms of collaborative engagement. The Collaborative Arts Partnership Programme is supported by Creative Europe (Culture Sub-Programme) Support for European Co-operation Projects Education, Audiovisual and Culture Executive Agency.http://www.cappnetwork.com

CAPP has appointed Dr Susanne Bosch to deliver the research strand of CAPP. There will be a focus on formulating a research and evaluation process that is reflexive, that creates new possibilities in relation to evaluative frameworks for collaborative work, that remains alert to contemporary critiques with regard to research practices and that aligns the research and evaluation process with core aims of the partners at both a local level and within the larger project framework. By 2018 partners will be able to share and disseminate the research gathered over the course of the 4-year project.

The research will also produce key valuable resources for the collaborative arts sector across Europe.

Who’s involved?

The nine partner organisations, all in different ways, promote  the principles of collaborative arts, arts collectives or meaningful community engagement within their programmes.

Agora is a project space based in Neukölln that hosts people and projects based on a philosophy that reflects the values of its community: diversity, self­organisation and social ties. http://agoracollective.org/

Create is the national development agency for collaborative arts in Ireland.Create supports artists in making exceptional art with communities in the broadest sense – it can be a neighbourhood organisation; pigeon fanciers; a chess club; working fishermen, farmers or asylum seekers. http://www.create-ireland.ie/

hablarenarte: is an independent platform for projects that works to support the creation, publicizing dissemination and promotion of contemporary culture. For CAPP hablarenarte has formed a network of five Spanish contemporary art institutions: AC/E, AcVic, Centro Huarte, Medialab Prado and Tabakalera, seeking to join forces to implement the programme in a broader territory. http://www.hablarenarte.com/

The Kunsthalle Osnabrück is regarded as one of the most beautiful – and the most demanding – exhibition rooms for contemporary art in north Germany. http://www.osnabrueck.de/

Working to support those who make, watch, research, study, teach, produce, present and write about Live Art in the UK and internationally, and to create the conditions in which diversity, innovation and risk can thrive. http://www.thisisliveart.co.uk/

Ludwig Museum – Museum of Contemporary Art collects and displays masterworks of modern and contemporary art. The permanent collection contains valuable pieces of American pop art. http://www.ludwigmuseum.hu/

m-cult in Helsinki develops the field of media culture and publishes results on various platforms. http://www.m-cult.org/

As part of the prestigious Tate Gallery, in Liverpool, the Converted dock buildings now house temporary and permanent contemporary international art exhibitions, a café and host events as part of the Tate Liverpool programm http://www.tate.org.uk/visit/tate-liverpool

Cover Thesis Volumen 2
Cover Thesis Volumen 3
Cover Thesis Volumen 4

Abstract

In this PhD by Publication I argue that my art practice serves as a useful contributor towards shaping elements for the activation of civil society. Through consideration of three interrelated examples from my art practice from 1998-2011, which emerged from my Restpfennigaktion (Left-over Penny Campaign) an artistic methodology has emerged that shows links between the artwork as process and product in relation to notions of transformation. Lynn Froggett writes, “The transformative potential is realised when it generates a cultural form for experience that needs the visual or performative register for its fullest expression.”[1]

I unpick and position the role of my practice using theoretical frameworks of participatory art as life, such as art and social sculpture (Beuys) in relation to the discourse used by theorists such as Claire Bishop, who aligned a socially engaged public art practice with ideas of civil society and democracy. I also use critical pedagogy and conflict resolution to position my work in this realm. Equally important is the role of a selected number of examples of participatory art works by others, such as AAA, Park Fiction and Schlingensief, as well as Suzanne Lacy. Innovative strategies in my work are the implementation and cross-sector uses of that knowledge through artistic practice.

The three projects under consideration were time-based interventions, which sought to engage people in penny-giving, wish-giving and wish realization in Germany (Left-over Penny Campaign), Italy (Initizativa Centesimo Avanzato) and Spain (Hucha de Deseos). As a result of undertaking this research, a suite of questions revealed themselves from within the practice. The questioning was specifically focused around the following three areas: the role of aesthetic form in my art practice, different conceptions of my role as artist, and how practitioners working in public or social space are affected by and respond to contexts. These questions arose during the processes of art-making and within the context of this research project. They emerged in response to a broadening of my ideas of participation, and participatory decision-making. It became clear that I was evolving new skills, in order to find appropriate and satisfying responses to these questions. I found myself by necessity seeking answers for the advancement of my art-making by moving beyond traditional artistic strategies and into areas of knowledge, such as formalised conflict resolution, pedagogy, gift economy, leadership, self-organisation, creative solutions in community development and undertaking a PhD.

Participatory public art refers to an art practice that features the transformation of individuals and societies for a common good. It aims to contribute to perceived demands for transition processes and is necessarily aware of and responsive to conditions that characterise a democratic civil society, which hopes for non-violent and fruitful transformations. The current global socio-political, ecological and cultural climate, currently dominated by the economic taxonomies, demands transformational processes if future life on earth is to be secured. Hence my art projects highlighted money, its meaning and ways of transformation, through focusing on gift economy more than on exchange economy.

My three projects highlighted on the one hand the limits of our existing man-made systems, on the other, they demonstrated how participatory public art can be a mode of transformation.

Supervisors:
Prof Dr. Mia Lerm Heyes, University of Ulster, Belfast
Dr. Aisling O’Beirn, University of Ulster, Belfast

External Examiners:
Prof Shelly Sacks, Social Sculpture Research, Oxford Brookes University, Oxford
Prof Dr. Anne Douglas, Grays School of Art, The Robert Gordon University, Aberdeen

Internal Examiner:
Prof Dr. Ullrich Kockel, University of Ulster, Magee (Emeritus since 2012)

 Thesis Volume 1

 Thesis Volume 2

 Thesis Volume 3

 Thesis Volume 4

The appendix will not be online as it has 7 GB!


[1] Froggett, Lynn (ed), New Model Arts Institutions and Public Engagement, Research Study, Headline Findings, uclan, 2011, p. 10. [online] Available at http://www.situations.org.uk/publications/socially-engaged-arts-practice-and-new-model-visua/