MAP (working title) Proposal Project funding (reflection) // VG // 15 September deadline.

Contributors: V&H, ...

What? Multiple Year Reflection dossier on how to run the mapping tool as a commons

Atlas of Ovens, AC, nadine and V&H have been working on the develomment of the tool - see We could base the dossier on the text they wrote collectively for Techniques, and a PhD proposal of V&H.

Jubilee and other small organisations, artist collectives, individual artists can use the tool to archive and activate their practices and use it as a place to share research and knowledge. The idea of the tool is going beyond a website showing individual projects. What we aim for is to make the relationships between the projects, documents and organisations visible. It becomes an active tool and a relational infrastructure. We would like to open the tool to users for whom geo-localisation is less relevant (concept mapping, images, films), and open it up to visualize and connect our different research trajectories (for example Caveat’s metadata from OSP). In future it might even open to the Tracks app…

The tool is almost developed - last technical phase. But once the tool is active, the real work starts and that is the reflection traject we would like to propose.

Who can have access, how do we govern it, who does the invisible work, how is this work valued, do we need to ask a contribution to participate in it and how is the work and investment that is already done valued. How can we create agency through this tool, how to use it as a form of commons and how to avoid new enclosures. These questions could become part of this project (reflection) application.

The mapping tool can be seen as a bit similar to Tracks. It also harbors the idea of the tool in a federated approach. In context of MAP we could consider setting up a practiced based program in which all around the table can participate, and from that necessity develop the governing principles of such a tool.

As such it would be a practice-based case study doubling as a semi-public refelction trajectory with reading rooms, assemblies of practice, a summerschool.

Double Use In context of Innoviris we could develop a text-based reflection program around that case study.

Support Institutional support art: -take part in the reflection moments -host the public presentations -contribute a budget.

-nadine vzw (partner in the mapping): positive response to be co-producer, contribute a budget and presentation moment -Kunsthal positive response to be co-producer, contribute a budget and presentation moment (meeting 4 july)

Other possibilities:

-Kanal (no response) -MHKA -Netwerk (new team) -Radical House Buda Jester (meeting with Jester soon) Ete78 a.pass Beursschouwburg Batard festival…

international partners -f.eks (in discussion about possibilities) ...? Carico Massimo, Livorno?

Institutional support education: -take part in the reflection moments -host the workshops with students -contribute a budget.

-ERG -KASK -AP (academy Antwerp) -La Cambre -other??

Other suggestions welcome…preferably we have a list of coproducers before the summer break...

The application:

Which function? Reflection, Presentation, Production: we decide to postpone this choice in view of what we will actually be writing and developing.

Duration? VG offers project support up to 3 years. Proposal for 2 years could make sense, so as not to find ourselves in an existential crisis every year. A two-year project would also align with the rythm of the VGC structural support...

How to write it together?

-We shared the text we wrote together with the current mapping partners for the journal Techniques. It is a good starting point of inspiration as it narrates our trajectory and our collective ambitions with this mapping tool: The development from a mapping and archiving tool for ephemeral practices to a narrative device, and a relational infrastructure.

-Below are the questions that are asked in the application document, and we can decide which part of the text fits best where.

-If would be great if some parts could be worked on individually and then shared with all of us. For example: Justin mentioned that he would like to write about the app TRACKS and how it could relate to the mapping tool, and how you can use both tools. This could fit for a workshop and for a public moment as well. It would also be nice to describe the working process to create this tool, which was also a federated approach, together with other institutions...This is a good element to narrate about the impact on the artistic landscape!

-other suggestions welcome to contribute!

When? -Most of us seem to be available in the first weeks of July. -The last weeks of August we should finalise.

Here are the basic questions to be answered in the project plan of the application for Dutch see here:

  1. Identification of applicant

2.Situation and positioning of the applicant The Arts Decree focuses on the professional arts sector. Moreover, the project must at least have an impact throughout Flanders and Brussels. Describe in what way you are professionally active in the arts landscape. Pay attention to your position within the Flemish and (inter)national arts field, and the (inter)national networks in which you play a role. Describe your current position, importance and/or exemplary effect for other organisations or artists in general. You can illustrate this, for example, by existing collaborations, distribution and public reach of any productions.

REMARK: I think we have to write about the current dynamic and transformation in Jubilee, of which this collective mapping tool is an exemplary example to work in a federated and collective way together with artists and organisations (inter)nationally.

  1. Project content Usually, a project focuses on one function. Explain your choice of function and describe your artistic plans, taking into account all the criteria of the chosen function. The assessment committee will use the function-specific subcriteria to assess your application. Therefore, read these carefully in section 4.2 of the manual and give the assessment committee maximum insight into your project plans. Exceptionally, a project may cover several functions in roughly equal measure. In that case, explain your choice and indicate how the different functions relate to each other. Describe your artistic plans, taking into account all the criteria of all the chosen functions.The assessment committee will use this information to test the relevant function-specific sub-criteria.

Chosen function: Elaboration of the project:

REMARK: in our experience it is best to choose one function. When reading the criteria for reflection, it fits very well with our plans: creating agency for research-based and transdiscilinary practices, making research accessible and visible, creating a tool to make relationships and networks visible. The installation of a tool that disseminates the practices and is an artistic collective endeavor at the same time...It reflects on how it can be of relevance to the wider art field, how it can be used as a commoning project.

When reading about production criteria, it might be a danger that they think the money will go to the production of the tool, which was already funded. we will have public moments and presentations of our practices, but when we relate to our partners: nadine, Kunsthal, f.eks, the production of exhibitions is not their main goal.

criteria for reflection:

a. the quality of the intended reflection on artistic practice or the art field Define the artistic, cultural or art-critical content of your project. Indicate to what extent it contributes to knowledge about art or the arts field, and how it feeds discussion about (the developments of) the arts and/or the arts field. Indicate in what way the project promotes reflection on art (practice) and/or the arts field in the Dutch-speaking region and/or the bilingual Brussels Capital Region. To what extent does the reflection feed and strengthen the discussion about (the developments of) the arts or the field of arts? b. the extent to which the intended reflection can have meaning for the arts field Justify the way in which your project promotes reflection on art (practice) and/or on the arts field in the Dutch-speaking region and/or the bilingual Brussels-Capital Region. Explain to what extent it contributes to knowledge about art or the arts field. Justify how your project feeds and strengthens the discussion about (the developments of) the arts or the arts field. c. the quality of the way in which the reflection is disseminated and made accessible Explain in what way you make the reflection accessible (website, publication, workshop, exhibition, sound recording, image recording, conference, ...). Justify why the medium or combination of media you choose is the appropriate channel to reach your audience and demonstrate that you also reach the desired audience. Discuss your plan of approach to audience outreach and accessibility. Indicate which partners you are working with and why. Explain how you deal with after-care of the communicated results (e.g. keeping a website up-to-date).

criteria for production:

The function 'production' concerns the creation, realisation, dissemination and promotion of an artistic work (e.g. a performance, an exhibition...). The function-specific sub-criteria of the function 'production' are: a. the quality of the intended creation and production process For this criterion, describe the way in which you will complete the creation and production process within your project. Give a concrete planning (time and locations), the possible partners and the foreseen working conditions (time and space). Justify your choice of artistic partners. The committee will also assess the professionalism of the support for the production process, as well as the content, logistics, technical and business aspects of the production framework. In addition, it will examine how this framework fits in with the artistic content. b.Explain your choice of artistic partners and collaborations (who, what and why) in function of the intended artistic result. c. the quality of the intended artistic result Indicate how you qualitatively fill in the production part and how you aim for a qualitative artistic result. In doing so, provide information on the quality standards used, resources, staff, locations, etc. If relevant, state how your project compares with previous projects. d. the quality of the vision for distribution, promotion and public outreach Describe and motivate clearly your vision on the distribution and/or distribution of you plans. Demonstrate how you pay attention to target audiences and partners in that plan. Include at least an initial distribution plan and strategy. The assessment committee will assess not only your vision on spreading and distribution, but also the quality of the presentation context and its justification. In doing so, it will check whether your planned initiatives and activities have an introductory, broadening or deepening character. Provide an estimate of the distribution potential. Clarify your vision of your promotion and public outreach. Depending on the content of the project, the concept of 'audience' may be interpreted differently. Indicate how you pay attention to communication and audience outreach, how you wish to reach your audience, how much audience you estimate to reach and how you work on the visibility of your project.

  1. Collaborations The collaborations allow the experts to assess the application on the criterion 'national and/or international appeal of the project', among others. Describe how and why you are collaborating with organisations or individuals for this project. Clarify the role and input of the partners. Outline the added value for each of the collaborating partners. Also indicate what that added value consists of artistically. Include declarations of intent or cooperation agreements with collaborating partners as an appendix in KIOSK.

REMARK: This is the most important element for this project. This map is a tool to make collaborations visible, to share knowledge, research, documents with each other and with a public, to create more agency for our practices, that stay often invisible beyond the site-specific activity that took place. The ambition for the tool is to go beyond a website with individual projects, but to find inspiration in a federated approach, how can Jubilee work together and share with other artsis, colectives and small organisations,(inter)nationally.

5.Relevance of the initiative to the discipline or arts landscape What are your ambitions with this project? What impact do you want to have? What can the project mean for others and for the wider arts field? In what way do you want to consolidate or expand this significance?

REMARK: see above.

6.Business planning In this section, give a description of your business plans in relation to your artistic plans. The aim here is not to repeat all the figures from the budget and its explanatory notes. You fill in these data on the tabs provided for this purpose in the figures annex. Show that your business planning and your artistic planning are consistent. Make sure your artistic choices are reflected in the business plan and vice versa. Justify your artistic choices on a business level.In doing so, make sure your business planning is clear, reasonable, complete and realistic. Also clarify the relationship between the different elements in the planning on the one hand and the budgeted costs and revenues on the other. Make clear the realism and reasonableness of your plans, commitments and collaborations. Briefly explain how you will adhere to the principles of fair practices and integrity. Explain how you will properly compensate artists (including yourself if you apply for this grant on your own behalf).