This platform maintains the historical role of inSite’s Interventions, by commissioning artists in residence, constructions and/or public interventions based on contextualized socio-cultural and political issues, and aimed at offering a creative experience of joint participation in the area.

The processes and results of the partnerships are aimed at collaborating in the spiritual, social, political and material life of the neighborhood. Processes will be designed based on research focused on social energy specific to this community. The resulting artistic pieces or cultural devices—always in the spirit of processes and joint participation—are based on a systematic and creative exchange of knowledge, imagination and/or issues relevant to the group. The interventions also attempt to expand the research fields that define the curatorial and civic action at inSite/Casa Gallina.

Once defined in discussions with the group involved, the agents’/artists’ proposals will be discussed in a broader frame of dialogue with the curatorial team and other guests, depending on the objectives of each project.

Residency calendars are divided into two periods: a) A brief period of curatorial dialogue and approach to the neighborhood. b) A longer period, more flexible and fragmented, of approximately six months to a year and a half, which will depend on the research and production requirements of each process. These processes usually require from three to six residencies, in accordance to the needs of the artist or agent.

The art pieces or cultural devices resulting from these joint participation processes will be exhibited or presented in the Mexican art scene, outside the neighborhood of inSite/Casa Gallina, except for those pieces that require visibility or to be presented as performances within the life of the neighborhood.

Joint participation is a curatorial requirement of the projects commissioned by inSite/Casa Gallina, since it defines our approach to contextual artistic practices and of public domain activations.

The process of joint participation is understood as a lucid approach to human interaction; the willingness to encourage creativity and motivation; and the wish to exchange knowledge with different people, to open dialogue, and to outline empathic experiences and even momentary/temporary living arrangements.

In this sense every artist is invited to choose any group/social dynamic, and to act inside it as an initiator of new connective situations, of the flow and dynamics of regeneration within an area and its imaginary.

For the inSite team, the premise of the project is to work interdependently within the spiritual fabric of each creative group process with the aim of producing in the public domain.

Public domain is the constitutive action in the public sphere, from an interconnected network of free individuals expressed in a contact-erosion-confrontation-alliance situation. The public domain is a healing practice of Civilitas; it is the exercise of integrating and revitalizing codes of coexistence among individuals with largely dissimilar origins, status, ideologies, moral standards, and patterns of behavior. It is a way of transforming the foundation of social contract into the politically sustainable. Public domain means to prepare and enforce the negotiation to be named, seen, and addressed by others. It is the confirmation of social mobility exerted on the ethical sphere of diversity. [O.S]

Commissions require a very early involvement of guest artists or agents with the social and human fabric in those fields of practice and knowledge underlying the specific stimulus of the real and (maybe) possible idea/creative action. The proposals—and the pieces—will be the result of an exhaustive self-critical and continuing exchange process with other relevant individuals selected from the field of the socio-cultural imaginary. These experiences, demands, and knowledge that determine and condition the joint participation must embody and propel the project onwards as an extraordinary and vivid gesture. These actions are artistic products in their own right, regardless of their later dislocation and mystification or separation from inSite.

Participations with groups—defined by a social situation with a specific energy—assume sanctioning new models to structure imagination, to share knowledge, and to create ethical/proto-political frameworks for group situations of inter-subjective friction. Participations also mean trial and error processes, feedback of imaginary material, and highly efficient social synergies that seek intelligent solutions that, at the same time, may be able to create specific flows of discussion, negotiation, and consensus on possible latent and disruptive imaginaries collectively produced.

Participations recognize and reconsider art as a powerful practice of empathy that is traditionally restorative against “civilizing” entropy. It also questions how contemporary art has distorted the social recognition of creativity not only symbolically as well as through the marketing of individual production as a commodity, as a commercial brand.

It is through joint participation that the initial ideas and contents of each proposal to be discussed are defined. Thus joint participation is the basis of development, production, and possible definition of results/moments/gestures/objects/actions that will determine the creativity or artistic/cultural distinctive mark of the work commissioned— achieved with a high level of development, energy and impact.