Contemporary Europe – ridden by social, political and economic crises, overlaid onto colonial and imperial trajectories, and shaken by the shockwaves generated by Brexit and wide scale human displacement – has become a space in which citizenship and belonging are contested, disrupted, performed and produced anew. Art, Migration, and the Production of Radical Democratic Citizenshipexplores the contribution of migrant and refugee artists to the performance and production of radical democratic citizenship in Europe. It foregrounds the insights of artists and cultural actors with diverse experiences of migration and displacement to fractious public debates about citizenship and belonging. It explores how migrant and refugee artists have audaciously inserted themselves into, and are pushing the boundaries of these debates, challenging and unhinging dominant interpretations of the parameters of European citizenship and belonging. Part I of this edited volume is comprised of a series of short provocations by artists spanning and intermixing a range of art forms and methodologies including live art, visual art and public installation, community and site-specific durational work, or the combination of writing, auto-ethnography and media activism. The second Part comprises longer, more sustained engagements by visual and live art practitioners, dramaturges, curators and academics. These chapters focus on performative, participatory, auto-biographical and auto-ethnographic artistic processes and practices. Art, Migration, and the Production of Radical Democratic Citizenship highlights the critical interventions by artists who have experienced firsthand the everyday realities of displacement, focusing on how their diverse practices offer incisive challenges to existing regimes of citizenship and democracy.

This book examines how citizen art practices perform new kinds of politics, as distinct from normative (status, participatory and cosmopolitan) models. It contends that at a time in which the conditions of citizenship have been radically altered (e.g., by the increased securitization and individuation of bodies and so forth), there is an urgent drive for citizen art to be enacted as a tool for assessing the “hollowed out” conditions of citizenship. Citizen art, it shows, stands apart from other forms of art by performing acts of citizenship that reveal and transgress the limitations of state-centred citizenship regimes, whilst simultaneously enacting genuinely alternative modes of (non-statist) citizenship. This book offers a new formulation of citizen art—one that is interrogated on both critical and material levels, and as such, remodels the foundations on which citizenship is conceived, performed and instituted.

Human-caused extinctions have never been so prominent in our political and cultural landscape. Extinction and Religion is a collection of wide-ranging chapters that explore the implications for religious faith and experience as it relates to a "sixth mass extinction" in Earth's history. Further it seeks to answer the question as to how religious and spiritual practices are shaping responses to the crisis? Edited by Jeremy H. Kidwell and Stefan Skrimshire, this collection aims to set a new postsecular agenda, articulating the questions, challenges, and ways forward for thinking about religion in an age of mass extinction rather than provide responses from world religions in isolation. It covers subjects such as the multitude of challenges posed by mass extinction to beliefs about the future of humanity, death and the afterlife, the integrity of creation, and the relationship between human and nonhuman life. Wide ranging and incisive, Extinction and Religion amply demonstrates the many ways in which the threat of extinction profoundly affects our faith and religious life worlds.

Collaboration in the arts is no longer a conscious choice to make a deliberate artistic statement, but instead a necessity of artistic survival. In today’s hybrid world of virtual mobility, collaboration decentralizes creative strategies, enabling artists to carve new territories and maintain practice-based autonomy in an increasingly commercial and saturated art world. Collaboration now transforms not only artistic practices but also the development of cultural institutions, communities and personal lifestyles. This book explores why collaboration has become so integrated into a greater understanding of creative artistic practice. It draws on an emerging generation of contributors—from the arts, art history, sociology, political science, and philosophy—to engage directly with the diverse and interdisciplinary nature of collaborative practice of the future.

This book introduces and critically explores walking as an innovative method for doing social research, showing how its sensate and kinaesthetic attributes facilitate connections with lived experiences, journeys and memories, communities and identities. The book situates walking methods historically, sociologically, and in relation to biographical and arts-based research, as well as new work on mobilities, the digital, spatial, and the sensory. The book is organised into three sections: theorising; experiencing; and imagining walking as a new method for doing biographical research. There is a key focus upon the Walking Interview as a Biographical Method (WIBM) on the move to usefully explore migration, memory, and urban landscapes, as part of participatory, visual, and ethnographic research with marginalised communities and artists and as re-formative and transgressive. The book concludes with autobiographical walks taken by the authors and a discussion about the future of the walking interview as biographical method. Walking Methods combines theory with a series of original ethnographic and participatory research examples. Practical exercises and a guide to using walking as a method help to make this a rich resource for social science researchers, students, walking artists, and biographical researchers.

This book addresses a topic of increasing importance to artists, art historians and scholars of cultural studies, migration studies and international relations: migration as a profoundly transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art’s critical engagement with migration and globalisation as a key source for improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. The author explores three interwoven issues of enduring interest: identity and belonging, institutional visibility and recognition of migrant artists, and the interrelations between aesthetics and politics, including the balancing of aesthetics, politics and ethics in representations of forced migration.

How can we think of art history as a discipline that moves process-based, performative, and cultural migratory movement to the center of its theoretical and methodical analyses? With contributions from internationally renowned experts, this manual, for the first time, provides answers as to what consequences the interaction of migration and globalization has on research in the field of the science of art, on curatory practice, and on artistic production and theory. The objective of this multi-vocal anthology is to open up an interdisciplinary discourse surrounding the increased focus on the phenomenon of migration in art history.