A Charter for Advanced Practices

The European Forum for Advanced Practices (EFAP), an informal forum of artists, theorists, philosophers, educators, performers, curators, musicians, urbanists, anthropologists and other cultural actors across Europe and beyond, has assembled to propose new ways of recognizing the values of contemporary cultural practices. The EFAP Charter for Advanced Practices takes the form of a preliminary communication that we hope will become an expanded conversation across the fields that have been at the forefront of significant shifts in what is recognized as research and of its place within the trajectory of practice. There is an investment here in new ways of multiplying and proliferating how practices instantiate forms of open source research as opposed to new forms of excellence. The EFAP Charter for Advanced Practices is an intentional address to peers and future researchers, one that recognizes the immense amounts of work taking place across the globe.

Our Challenges

This initiative has been propelled by several challenges.

A first challenge is a general recognition that the current paradigm in which we work is in fact a tragic one where, in Europe and elsewhere, educational and cultural institutions are currently subject to previously unimaginable levels of evaluation, monitoring, homogenization and financializing. Such immediate conditions negate hard-fought battles within cultural practice and research concerning race and migration, gender and sexuality, impoverishment and welfare, the need to decolonize knowledge and the need to include social justice within questions of epistemology. Subsequently the relation between practices, terms and institutions is amiss, does not reflect the burdens of responsibility under which they operate, does not recognize the exceptional strides they have been made and does nothing to actually advance the framework beyond display and certification.

A second challenge is to try and understand how practices have expanded beyond their original designation to become a forceful arena of textures, references and modalities that advance way beyond what may conventionally be expected of them. By knitting together a genealogy of the encounters between practices we hope to focus not so much on new forms as on new modes of coming together. This in recognition that a politics of coalitionality and mutuality is as important in the arena of knowledge production as it is in political struggles.

A third challenge is that artistic and cultural practices are so often called on to ‘represent’ social struggles or to bridge between arenas of hardship and privilege. Part of the challenge is how to think practices differently both substantively as knowledge and in their application as propositional forms. Not simply as artistic practices but also social, organizational, investigative and consciousness-raising forms of practice that redefine research. That are alert to opaque concerns, abstract specific instances and point to unimaginable possibilities; possibilities that invite unexpected conjunctions between conditions, knowledges and affects and invent new forms of intervening beyond commentary.

A fourth and final challenge: we must face the concern that value is in urgent need of reconfiguration within our world of practices. The forms of value that have dominated either as market worth or as satisfying antiquated notions of disciplinary knowledge that are evaluable in advance – have served us badly and limited the horizons to which we can aspire.

On The European Forum for Advanced Practices

The European Forum for Advanced Practices is an initiative driven by the wish to expand the breadth and depth of criteria and values that as creative researchers we have at our disposal. It is equally aimed at informing the politics of knowledge that underwrite selection, promotion, evaluation and funding of such practices. The researchers behind The EFAP Charter for Advanced Practices collectively identify an urgent need for new and plural ways of working to eradicate the blockages that lie in the way of advancing practices.

The European Forum for Advanced Practices is self-organized and made up of those who have for quite some time been working with complex research models within educational and cultural programs, inside of and outside of institutions. It builds on the work of individuals and of many academic departments, art academies, research oriented cultural institutions and collectives and other self-organized groups, who have constituted the educational field around emergent new practices and given them visibility. The European Forum for Advanced Practices is currently developing a platform that will allow this paper to function as an invitation to coalition in itself, drawing many others into this discussion.

Building on ongoing discussions of artistic research, on their consequent expansion as ‘practice based research’ and recognizing what work is out there, we propose to go a step further in order to include practices that act as unexpected convergences of many forms of knowledge. These practices cannot be recognized under the name of artist, collective, school, genre or mode of exposure. Rather they are bodies of work, that consciously or unconsciously, are drawn together in movement, in their unpredictable engagement with urgencies and exigent issues. How we can chart such relations and what permission we might gain from the relations they form, is one of the drives of The EFAP Charter for Advanced Practices.

The EFAP Charter for Advanced Practices includes a set of initial reflections, definitions, characteristics, principles and open questions associated with Advanced Practices. In offering a characterization of Advanced Practices, we assert, with many others before us, that practice is a mode of research and therefore Advanced Practices should attract evolving definitions rather than estimation.

On The Concept of Advanced Practices

We have developed the term Advanced Practice as it performs a conjunction of values from traditional research with values from lived experience and the challenges of contemporary conditions. It is distinguished from the established academic field of Advanced Studies through questioning ideas of mastery, progressive knowledge accumulation and global research acquisition. Instead Advanced Practices favour the assertion that knowledge is not held in one place or by one group of people but is instead collaborative, granular. Thus multiple Advanced Practices are forms of embodied research, lived experience informed by theoretical and social knowledge, challenged by contesting speeds, defying cohesions and made by producers from different disciplines, locations, accesses and languages.

Participants in the field perceive of themselves as those who are encountering advanced knowledges and collectively experiencing them differently. Such different experiences recognize that the current contestations of knowledge between critical theory, computational and algorithmic logics, the centrality of affect and the preoccupation with neo-materialism - all operating within ever more extreme social, economic and environmental conditions – require interstitial narratives. When the need is for global epistemologies and planetary knowledges, for reopening surreptitious histories, when the urgencies are blockages of movement for people and of access to rights, of globally financialized warfare, the collapse of welfare infrastructures and the financializing of education – then the narratives of their knowledge must mirror the fractured multi-positionality of the conditions themselves, must speak through them rather than about them.

The term Advanced Practices is established as a category to signal the sea change in research taking up modes of doing and grounding them in material and theoretical knowledges and in links to social worlds. EFAP’s urgency lies in the great proliferation of practice driven research taking place across many fields, not yet sustained by an understanding of it potentials across institutions, funding agencies and points of dissemination. In claiming Advanced Practices we acknowledge many advancements that have already taken place and that continues to propel us as we encounter advanced knowledges, forms of propulsion that do not illustrate or uncover but speculate, propose and prompt. Advanced Practices are forms of multi-positional knowledge, that move beyond accumulated intelligences to challenge propositions through combined strategies of the theoretical and the practice driven. Practices are here understood as the protocols of many fields that push their central proposition to interactive states. These practices offer the possibility of examining issues from multiple, oblique vantage points and articulating these in a range of languages that are aesthetic, administrative, scholarly and performative. Thus, Advanced Practice insists on the importance of developing the multiple perspectives of contemporary diasporic, migratory societies, to see ‘value’ as established contextually and to operate collectively in formulating alternative models of research evaluation that understand value as produced in context.

On The Principles of Advanced Practices

Such contingency and collectivity in the field of knowledge means that Advanced Practices assume multiple audiences and an ease of movement between different institutions. Rather than borrow protocols and knowledges across disciplines, Advanced Practices offer immersive forms in which new methodologies are forged out of combining the contextual and the performed with imagined future states. EFAP recognizes that rage, hardship and the pursuit of social justice propel research just as much as curiosity, criticality and the ambition to solve problems. It insists on the importance and the validity of such entry points as pathways and propellants into forms of knowledge.

EFAP proposes the following seven principles as underlying Advanced Practices:

1. Advanced Practices insist on a democratization of knowledge, with more persons having access to it and being recognized as knowledge producers.
2. Advanced Practices propagate new, propositional realities not epistemologically but through their collective and multi-dimensional enactment.
3. Advanced Practices espouse complexity which is inclusive and which does not allow for an external viewing position or a performance of a seeming objectivity.
4. Advanced Practices value assemblages of knowing via interstitial concepts such as the ‘spatial’, ‘sonic’, ‘curatorial’, ‘mineral’, ‘environmental’, ‘algorithmic’, ‘choreographic’, etc.’
5. Advanced Practices have the ability to make practice societal, using creativity to make visible the frictions, tensions, violences and contestations inherent in forms of social and political life and conditions.
6. Advanced Practices operate propositionally, not reporting on but suggesting alternate scenarios and discernments.
7. Advanced Practices loosen the disciplinary grip on knowledge, pursue non-hierarchical knowledge formations and the fusion of scholarly, infrastructural and creative languages.

On the Performativity of Advanced Practices

Following these seven underlying principles, the performativity of Advanced Practices can be described as follows:

1. Advanced Practices shift paradigms. Taking the form of tectonics, paradigm shifts are a process of working with a problematic without the framework of assumptions or the drive of a goal. Such shifts continually redefine how things are measured and always operate as temporally specific mechanisms. Paradigm shifts cannot be claimed, have not been invented, cannot be arrived at individually and are not authored. Paradigm shifts are states of contemporary recognition or of reconnecting with radical historical moments as indicators of permission and possibility.

2. Advanced Practices reframe urgencies. Questioning who defines what an urgency is? Insisting that urgencies are not priorities, they are rather an aggregate of conditions that demand a response. Thus we recognize that Advanced Practices make urgencies visible and provide alternative frameworks to know them. Advance Practices counter the hegemonic employment of urgencies that serve to normalize or suppress them as legible subject matter. They think through situated and locatable urgencies and how these are linked to opening up western conditions to world conditions and vice versa.

3. Advanced Practices invent methodologies. Pose questions as to the recognition of a moment of methodological invention. They articulate who commissioned the research or whether it is a project of self commissioning. They recognize that the choice of subject is never value free and that we invent our own subjects, enumerating emergent modes such as fictioning, queering, inventing vocabularies, ex-centric forms of verification and of information collecting, the invention of archives or their mis-reading.

4. Advanced Practices stage new relations between knowledges. Departing from the older model of ‘interdisciplinarity’ to more contemporary notions of ‘singularisation’: the coming together in time and space of different situated knowledges in specific and uncategorizable alliances. Advanced Practices recognize a multiplicity of knowledges in simultaneous play: Tacit, implicit, bodily, intellectual, all subject to a form of valorization that deliver them back into specific economies. Emergent regimes of digitalization and of algorithmic control have produced access and availability as well as new regimes of research. Shifting base lines that reject notion of ‘normal’ of ‘tradition’, of ‘individuality’ – the necessary emergence of a collaborative model.

5. Advanced Practices exceed expectations. Moving on from the neoliberal understanding of exceeding expectations as having greater impact and forging new markets, Advanced Practices dismiss the assumed relation between a threshold and a research project, learning to mutualize the dynamics of expectations. They thematize and include trust as a research value, to recognize affection and mutuality as drives and to enfold notions of failure within expectations. Developing models that bypass the evaluation of concluding findings, Advanced Practices emphasize both the unexpected encounters and the ability to pose questions from elsewhere, that are the value of research. Part of exceeding expectations is defying capitalist notions of reaching previously unrecognized subjects and markets, in favor of recognizing how ideas constitute new audiences and communities.

On the Operations of Advanced Practices

Here the emphasis on ‘operating’ is aimed at eschewing prescription but rather thinking practices as a series of dynamic set-ups.

1. Advanced Practices perform a fluency of movement within and without institutions around research groups that share urgencies, experiences and methodologies. Beyond examining a problem from multiple perspectives they recognize the interests and values that underwrite the perspectives and push towards dialogue between such.

2. Advanced Practices reconceptualize encounters around knowledge, institutional, informal and public. Advanced Practices work towards producing as many ‘events of knowledge’ as possible seeing these as the generative moments in which a conjunction of knowledges, insights and new points of entry occur.

3. Advanced Practices recognize and insist that collaboration, collectivity and the methodologies only these can offer, be recognized through funding streams and evaluative mechanisms. Advanced Practices have the capacity to differentiate between seamlessly accumulating and circulating knowledge (as in network formation) and the instances of burgeoning recognition that knowledge and insight are part of a shared dramaturgy.

4. Advanced Practices re-narrate knowledge by replacing static outcomes with dynamic propositions. In putting forward relational, interstitial, collectivized knowledge whose movements operate like molecular chains that form and reform.

5. Advanced Practices embed discovery, innovation or breakthrough within deeply layered socialities.

To our Friends

The European Forum for Advanced Practices wishes to recognize and address seriously the audiences and public domains for the work of Advanced Practices. Realizing that Advanced Practices are often taking place within unrecognized or illegible environments, and that in those instances these may be mistaken as representations of experience rather than challenges to knowledge.

We underline the potentially inclusive nature of this work beyond the academy. Advanced Practices offer the possibility of examining issues from multiple, often oblique, vantage points and articulating these in a range of languages. As we consider ‘value’ as something that is established contextually (and operates collectively) we seek, through Advanced Practices to establish alternative models of research evaluation that understand this contextual aspect of value. Such contingency and collectivity in the field of knowledge means that Advanced Practices assume, address and require multiple audiences and ready movement between different groups.

The drive of the European Forum for Advanced Practices is to put forward a public discussion on the possibility of changing our understanding of value, a discussion currently rife with contradictions.

The EFAP Charter for Advanced Practices argues the necessity to bypass the capture of work that is inventive. It poses a fundamental question of whether the immeasurable and measurable can inhabit a single argument.

We hope to develop the capacities to recognize value anew. We argue for its fundamentally relational quality and its dependence on community beyond knowledge.

We propose to develop the Infrastructures that might allow such alternative value the time and funding to grow.

We demand greater Open access, for sharing not just the outcomes but also the often incoherent processes of the research itself.

We oppose the functionalization of practice and refute the centrality of application or replication.

We aspire to a re-narration of value that can be fractal, rhythmic, incoherent or sequential. We desire the ability to repeatedly tell the story of value differently.

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Signatories

Fredrik Shetelig, NTNU;

Alexandra Murray-Leslie, Chicks on Speed;

Zoran Pantelic, Center_kuda.org, novi sad;

Raluca Voinea, tranzit.ro;

Branislav Bedi, University of Iceland;

José Costa, CRIA/FCSH-UNL;

Krzysztof Pijarski, Lodz Film School;

Renee Wansdronk, Wansdronk Architektuur;

Marta Materska-Samek, Film Research Centre (Kraków);

Geert Lovink, Institute of Network Cultures, Amsterdam University of Applied Science;

Kenan Zekic, International University of Sarajevo;

Andrea Lucic, Faculty of Economics and Business Zagreb;

Johannes Bruder, University of Applied Sciences and Arts FHNW;

Leila Krivosic Dizdarevic, Interantional University of Sarajevo;

Urška Stankovič Elesini, Faculty of Natural Sciences and Technology, University of Ljubljana;

Estera Cerar, Technical Museum of Slovenia;

Jara Rocha

Antonia Majaca , Graz University of Technology ;

Martina Arabadzhieva, Center for Research and Analysis;

Bruno Mendes da Silva, University of Algarve;

Anne Pillonnet, Université de Lyon;

Alex Booker, Faculty of Architecture and Design; NTNU. Norway;

Lucia Martinelli, MUSE - Science museum (Trento, Italy);

Klaus Schönberger, Alps-Adriatic University;

Michał Szyszka, WSB University ;

Kristin Bergaust, OsloMet-Oslo Metropolitan University;

Hulda Stefánsdóttir , Iceland University of the Arts;

Master Zekic, International Univesrity of Sarajevo;

Akexander Karschnia, andcompany&Co.;

Yanai Toister, Shenkar College of Engineering, Design and Art;

Aneta Szylak, NOMUS New Art Museum Gdansk;

Adrian Heathfield, University of Roehampton, London;

Ksenija Zec, Akademija dramske umjetnosti Sveučilišta u Zagrebu;

Milica Tomic, Institut for Contemporary Art, Faculty of Architecture, TU Graz;

Jorella Andrews, Goldsmiths, University of London;

Nikolina Pristaš, Academy of Dramatic Art;

Ed Carroll

Franka Perkovic, Academy of Dramatic Art, University of Zagreb;

nico dockx, Royal Academy of Fine Arts Antwerpen;

Louis Volont, University of Antwerp;

Sigurjon Baldur Hafsteinsson, University of Iceland;

Marina Vishmidt, Goldsmiths, University of London;

Vivian Sky Rehberg, Willem de Kooning Academy-Piet Zwart Institute ;

peter lang, r-lab NA;

Eleonora Roaro

Juan Luis Toboso

Isaac Marrero-Guillamón , Department of Anthropology, Goldsmiths, University of London;

Stein Bjelland

Luís Santiago Baptista, ECATI - Universidade Lusófona de Humanidades e Tecnologias;

Sanjay Seth, Goldsmiths, University of London;

Tanja Lacko, Academy of Dramatic Arts, University of Zagreb, Croatia;

Jasna Zmak, Academy of Dramatic Art, University of Zagreb;

Natalie Fenton, Goldsmiths, University of London;

Tomislav Šakić, Academy of Dramatic Art, University of Zagreb;

eduarda neves, CEAA-ESAP;

Panda de Haan

Ana Letunic, Academy of Dramatic Art, University of Zagreb;

Aldo Milohnić, University of Ljubljana, Academy of Theatre, Radio, Film and Television;

Nerea Calvillo, Centre for Interdisciplinary Methodologies, University of Warwick;

Sohin Hwang, Harvard University;

Susana Ventura, Centre of Studies of Architecture and Urbanism of the Faculty of Architecture of the University of Porto;

Marina Petkovic Liker, Academy of Dramatic Art, University of Zagreb; Fourhanded - art organization;

ana rocha, independent performing arts curator \ LAVACURA \ Porto, PT;

Graham Harwood, YoHa, Goldsmiths, Universty of London;

Mato Ilijic, Akademija dramske umjetnosti, Zagreb;

Sanne Kofod Olsen, Faculty of Fine, Applied and Performing Arts, University of Gothenburg;

Davor Žmegač, Academy od Dramatic Art, University of Zagreb;

Tom Keene, Goldsmiths, University of London, UK;

Doris Sommer, Harvard University;

Dylan Gauthier, Parsons School of Design, The New School;

Stefano Harney, Dutch Art Institute;

catherine willems, KASK, School of Arts Ghent, University College Ghent;

Skaidra Trilupaitytė, Lithuanian Culture Research Institute;

Konstantina Georgelou, Amsterdam University of the Arts;

Liesbeth en Jos Bik Van der Pol, Piet Zwart Institute, Rotterdam and Jan van Eyck Academy, Maastricht;

Markus Miessen, HDK Academy of Design, Gothenburg, Sweden;

Iva Hraste Sočo, Academy of Dramatic Art, University of Zagreb;

Nicole L’Huillier, MIT Media Lab;

Emilio Vavarella, Harvard University;

Barbara Bulc, Global Development and SDG CoLab ;

Efva Lilja, Dance and Art Production;

Nick Montfort, Massachusetts Institute of Technology;

Nathan Felde, Northeastern University;

Andrea Dietz, GWU Corcoran;

Merve Bedir, Hong Kong Design Institute;

Lennaart Van Oldenborgh, Goldsmiths, University of London;

Silvia Guerra, www.lab-bel.com;

Elke Krasny , Academy of Fine Arts Vienna ;

Marcelo Expósito, Programa de Estudios Independientes (PEI), MACBA, Barcelona.;

Keller Easterling, Yale University School of Architecture;

Georg Russegger, Academy of Fine Arts Vienna;

Dan Oki, Academy of Arts, University of Split;

Francoise Lonardoni, musée d'art contemporain de Lyon;

Carolyn Bailey, Harvard University;

Javier Nueno, Harvard University;

Andrea Mariani, University of Udine;

Michaela Büsse, University of Applied Sciences and Arts FHNW;

Léonor Rey, POROSITY-art.com;

David Reinfurt, Princeton University;

Rasmus Ölme, Danish National School of Performing Arts;

Edgar Schmitz, Goldsmiths, University of London;

Flavia Caviezel, University of Applied Sciences and Arts FHNW;

Maria Fusco, Northumbria University;

Ethel Baraona Pohl, dpr-barcelona;

Kristen Kreider, Goldsmiths College, University of London;

Anthony Gardner, University of Oxford;

Ric Allsopp, Falmouth University, UK;

Adnan Madani, Goldsmiths, University of London;

Rolf Hughes, Experimental Architecture Group, Newcastle University;

Emily Rosamond, Goldsmiths, University of London;

Rebekka Kiesewetter, CPC Coventry University;

Marion von Osten, Center for Postcolonial Knowledge and Culture (CPKC) & Labor k3000 Berlin;

Marjetica Potrč

Andrew Gryf Paterson

Benoit Verjat

Alice Andrews, Goldsmiths, University of London ;

Rachel Armstrong, Newcastle University;

Maja Mirkovic

Cagla Aribal

Charulatha Mani, Queensland Conservatorium Research Centre;

Fredrik Graver, The Norwegian Film School;

Joanna Callaghan, University of Sussex;

Bryndís Snæbjörnsdóttir, Iceland University of the Arts;

Tsendpurev Tsegmid , Vanjil Art Institute;

Richard Craig, Independent Scholar;

laura boffi, University of Ferrara;

Sigrun Alba Sigurdardottir, Iceland University of the Arts;

Rúna Thors, Iceland University of the Arts;

Sigrún Birgisdóttir , Iceland University of the Arts;

Thomas Pausz, Iceland University of The Arts;

Valgerdur Gunnarsdottir, Iceland University of the Arts;

Miguel Costa, Faculty of Fine Arts, University of Porto;

Jari Martikainen, University of Eastern Finland;

Marina Pignatelli, Universidade de Lisboa;

Renato Jacques, Universidade de São Paulo - USP;

José Bastos, CRIA / FCSH.UNL;

Susana Medina, University of Porto - Faculty of Engineering;

Ruth-Helene Melioranski, Estonian Academy of Arts;

Maria Topolcanska, Academy of Fine Arts in Prague;

Veronica Valentini, BAR project, E.M.M.A., Concomitentes;

Smadar Dreyfus, indepedent artist;

Stefan Winter, Film University Babelsberg KONRAD WOLF;

Janis Gailitis, Art Academy of Latvia;

María Luisa Ortega Gálvez, Universidad Autónoma de Madrid;

Santiago Barber

Hadas Kedar, Bezalel Academy of Art and Design;

Barbara Mahlknecht, Goldsmith University London;

Caio Novaes, Universidade Aberta;

Premesh Lalu, Centre for Humanities Research, University of the Western Cape;

Bridget Crone, Goldsmiths, university of London;

Valery Alzaga , Labour organiser ;

Eric Zimmerman

geheimagentur performance collective

Jenny Marketou, Marketou Studio Brooklyn.NY;

Ludger Pfanz, University of Arts and Design Karlsruhe;

Lotte Arndt, École supérieure d’art et design valence, France ;

Kevin Lee, Merz Akademie;

Carol Mancke, Royal College of Art London;

Michael Hiltbrunner, Zurich University of the Arts ZHdK;

Domna Banakou, Universitat de Barcelona, Spain;

maria lind

Marion Luise Reuter, THE DANISH NATIONAL SCHOOL OF PERFORMANCE ARTS ;

Marina Fokidis , South as a State of Mind ;

Julian Henriques, Goldsmiths, University of London;

Barbara Wilson, The National School of Performing Arts ;

Deniz Kirkali, Goldsmiths University ;

Vaida Stepanovaite, Goldsmiths, University of London ;

Federica Martini, EDHEA - Valais School of Art;

Venke Aure, Faculty of Technology, Art and Design, Oslo Metropolitan University;

Boel Christensen-Scheel, Oslo Metropolitan University;

Suddhabrata Sengupta, Monica Nerula, Jeebesh Bagchi: Raqs Media Collective, Delhi

Jūratė Tutlytė, Vytautas Magnus University;

Dubravka Sekulic, IZK Institute for Contemporary Art, TU Graz;

mimi zeiger

NICHOLAS AIKENS, Valand Art Academy / Van Abbemuseum ;

Sarah Charalambides, Goldsmiths, University of London;

Beatrice von Bismarck, Cultures of the Curatorial, Academy of Fine Arts Leipzig;

Gry Worre Hallberg, Sisters Hope and University of Copenhagen ;

Ditte Maria Bjerg, Performing Arts Academy, Malmö, Lund University;

Charlotte Laubard, HEAD, Geneva University of Art & Design;

Ida Brændholt Lundgaard, Danish Agency for Culture and Palaces;

Philippe-Aubert Gauthier, Université du Québec à Montréal;

Zoe Keller, Goldsmiths University;

Naeem Mohaiemen, Columbia University;

Ramon Blanco-Barrera, University of Seville;

Ana Paula Melaneo

Charlotte Østergaard, Malmö theater Academy, FACULTY OF FINE AND PERFORMING ARTS | LUND UNIVERSITY;

Jon Bewley, Locus+;

Joana Hurtado, Fabra i Coats - Fàbrica de creació i Centre d'art contemporani de Barcelona;

Efrosini Protopapa, University of Roehampton;

Desirée Vidal Juncal, San Telmo School of Art and Design, Málaga, Spain;

Katarzyna Bojarska, View. Foundation for Visual Culture;

Elham Puriya Mehr

stefano magnolo, University of Salento - Lecce - Italy;

Sylvia Rothe, LMU Munich University;

Leire Vergara, Bulegoa z/b Bilbao, DAI Roaming Academy;

Tanja Diers, Malmö Theatre Academy, Lund University;

Louis Moreno, Goldsmiths, University of London;

Theodor Ringborg, Goldsmiths, University of London/Bonniers Konsthall, Stockholm;

Nishat Awan, Goldsmiths;

Christoph Solstreif-Pirker, Graz University of Technology;

John Drever, Goldsmiths, University of London;

Catalin Gheorghe, "George Enescu" National University of the Arts Iasi (Romania);

Carolina Rito, Coventry University;

Poppy Bowers, The Whitworth, University of Manchester;

Valentina Karga, Hochschule fur Bildene Künste, HFBK, Hamburg;

vincent meessen, JUBILEE-platform for artistic research and production ;

Albena Vutsova, Sofia University "St. Kliment Ohridski";

Ruth Martinez-Lopez, Sevilla University;

Anna Detheridge, Connecting Cultures;

Pille Runnel, Estonian National Museum;

Carlo Cubero, Tallinn University;

Terje Toomistu, University of Tartu;

André Feitosa de Sousa, PhD Candidate, College of Artes, University of Coimbra;

Milan S. Dimitrijević, Astronomical Observatory, Belgrade, Serbia;

Antónia Lima, ISCTE-IUL / CRIA;

Teresa Fradique, CRIA-NOVAFCSH/ESAD.CR-IPLEIRIA;

Maria dos Anjos Maltez Cardeira da Silva, CRIA / NOVA FCSH;

Sandra Marques, CRIA/ISPUP;

FRANCISCA CARDOSO, CRIA, NOVA FCSH;

Marta Maia, CRIA-IUL;

Simona Tomarchio, CRIA, ISCTE-IUL;

Ricardo Seiça Salgado, CRIA - Centre for Research in Anthropology;

Vera Azevedo, FCSH/CRIA-Universidade Nova de Lisboa/CRIA;

Douglas Santos, ISCTE-IUL;

Cristina Santinho, CRIA;

Frederico Rosa, NOVA FCSH;

Sher Doruff, DAS Graduate School/Amsterdam University of the Arts;

Paulo Raposo, CRIA/ISCTE-IUL;

Nora Sternfeld, Kunsthochschule Kassel;

Roy Brand, Bezalel Academy of Art and Design, Jerusalem;

Scott William Raby, F.eks. - Roaming Contemporary Art Platform (Aalborg, Denmark);

Christoforos Pavlakis

Siyuan Wang, Research curator, Biologist;

Rita Rodrigues, CRIA, ISCTE-IUL;

Anselm Franke, Haus der Kulturen der Welt Berlin / HKW;

Angelika Burtscher, Lungomare, Italy;

Vali Mahlouji, Archaeology of the Final Decade;

Abigail Webster, EMBASSY gallery;

Leonor Medeiros, Faculty of Social and Human Sciences, New University of Lisbon - NOVA FCSH;

Elizabeth Challinor, FSCH/UNL and CRIA/UM;

Ida Lundgaard, Danish Agency for Culture and Palaces ;

Susannah Haslam, Royal College of Art London;

vanni brusadin, University of Barcelona;

Deirdre MacKenna, Cultural Documents;

Giusy Checola, Université Paris VIII (PhD candidate) - Institute for Public Art (Researcher) ;

Diego del Pozo Barriuso, Facultad de Bellas Artes Universidad de Salamanca, Spain;

Emily Hesse, Independent Artist and Writer;

Gustavo Vicente, School of Arts and Humanities of the University of Lisbon;

Bunea Diana, Academy of Music, Theater and Fine Arts, Moldova;

Ryszard W. Kluszczyński , University of Lodz, Poland ;

Miguel Pozas Pérez, UCM;

Nick Axel, e-flux Architecture / Gerrit Rietveld Academie;

Meghann Ormond, Cultural Geography, Wageningen University & Research;

gerardo gomez tonda, HKU;

Silvia Podhradská, Polymer Institute of the Slovak Academy of Sciences;

Tom O'Dea, CONNECT, Trinity College Dublin;

Tatjana Macic, Royal Academy of Art, The Hague, the Netherlands;

Rakefet kenaan, Shenkar College - Engineering. Design. Art;

Marloeke van der Vlugt, HKU, University of the Arts Utrecht;

Aliaskar Torkaliaskari

Pieternel Vermoortel, Netwerk Aalst, Belgium ;

Helena Correia, Independent Curator;

Ólöf Sigfúsdóttir

javier lara, Artist ;

Laura Vallés Vílchez, Concreta;

Ana Dana Beroš

Mona Mahall, Architecture and Art, HCU Hamburg;

Cian O'Brien, Project Arts Centre;

Sara Greavu

Livia Paldi, Project Arts Centre, Dublin;

Gina Moxley, Freelance writer, performer, director for theatre;

Jason Bowman, University of Gothenburg;

Sinead Phelan, Workhouse Union;

Anne Julie Arnfred, Roskilde University, Denmark;

Christian Stary, Johannes Kepler University Linz;

Rike Frank, European Kunsthalle / Berliner Förderprogramm Künstlerische Forschung;

Jamie Johnson, Central Saint Martins, University of the Arts London;

Gabriëlle Schleijpen, Dutch Art Institute;

Xandra van der Eijk, Ecology Futures MA, Master Institute of Visual Cultures;

Lucie Kolb, Academy of Art and Design FHNW ;

Daniela Amolini

Margerita Pulè, Unfinished Art Space Foundation;

Dennis Atkinson, Goldsmiths University of London;

Xandra van der Eijk, Ecology Futures MA, Master Institute of Visual Cultures;

Julia Morandeira

Gretchen Schiller, University Grenoble Alpes;

Donna Faye Burchfield, The University of the Arts;

Donna Faye Burchfield, The University of the Arts/Philadelphia;

Judith Dobler, Hochschule Anhalt Dessau / Germany;

Nitsan Margaliot

Stefanie Tan, Glasgow School of Art;

Neta Pulvermacher, Jerusalem Academy of Music and Dance;

Natalie Hume, Courtauld Institute of Art;

mao mollona, Goldsmiths ;

Anat Danieli, Kelim Choreography Center - Bat Yam;

Dorina Xheraj-Subashi, University Aleksandër Moisiu, Albania;

Despoina Penny Demertzi, PhD Politics - Goldsmiths University of London;

Olivier Rossel, Pilz Welle Lust Artspace Basel;

Roelof Petrus van Wyk, University of the Witwatersrand;

Chun-Ya Yang

Ilona Puskas, EIT Climate-KIC;

nela milic, university of the arts, london;

Christopher Kummel, Northumbria University;

Natasa Petresin Bachelez, Advances Master in Art and Design in Social and Political Context, Sint Lucas School of Arts, Antwerpen;

Suzie Attiwill, RMIT University;

Nicholas Boyarsky, RMIT University;

Ronny Hardliz, Lucerne School of Art & Design HSLU, and BAKUB–Basis Kunst und Bau;

Carolina Cerón, Universidad de los Andes;

Liamar Duran Almarza, University of Oviedo;

Jorge Gonçalves, URDA;

Margarida Saraiva, BABEL - Cultural Organization ;

Tam Hare, Newcastle University;

Margarida Saraiva, BABEL - Cultural Organization ;

Gil Markovitz

Tam Hare, Newcastle University;

Blanca Pujals

Elæ Moss, Pratt Institute / The Operating System & Liminal Lab;

Pete Furniss, Goldsmiths, University of London (Music);

Simon Zagorski-Thomas, London College of Music, University of West London;

Maibritt Borgen, Royal Danish Academy of Fine Arts;

Carolina Rito, Coventry University;

Ed McKeon, Third Ear Music;

Rebecca Collins, Edinburgh College of Art; University of Edinburgh; Scotland;

Giuseppe Torre, University of Liemrick - Ireland;

Tom Holert, Harun Farocki Institut;

Blanca Pujals

Jens Badura, Zurich University of the Arts;

Letitia Calin

Hilde Bouchez, KASK & Conservatorium, Gent;

Mika Elo, Academy of Fine Arts / Uniarts Helsinki;

Eva Gonzalez-Sancho Bodero

Ellen Røed, Stockholm University of the Arts;

Federica De Molli, BI - Norwegian Business School ;

paolo do, la sapienza university, rome;

Anne-Laure Oberson, Embassy of Foreign Artist;

Pavel Borecký, University of Bern;

Silvia Podhradská, Polymer Institute of the Slovak Academy of Sciences;

Roman Dziadkiewicz, StreamArtStudio / UKRAiNATV;

Joseph Steele , Vrije Universiteit, U. Colorado Boulder;

Edwindus Edwindus, 22;

Edwindus Edwindus, NA;

Blanca Pujals

Our Challenges

On The European Forum for Advanced Practices

On The Concept of Advanced Practices

On The Principles of Advanced Practices

On the Performativity of Advanced Practices

On the Operations of Advanced Practices

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