We are artists and researchers working across artistic and educational fields, collaborators and participants in MINA encounters, attentive to how connections between art and politics, theory and practice, analysis and action quietly accumulate through the sharing of artistic practices.
During our early preparatory meetings, we realised that what was at stake was not only how to organise the encounters, but how to attend to what moved us within them — what sustained our impulse to continue. At that moment, we did not yet know each other well, yet we shared a sense that gathering around artistic practices was meaningful and carried implications beyond individual work.
The moment we began to investigate through MINA coincided with the moment we began reflecting through our doing. Sharing ceased to function as an abstract concept and became a field of relations between practices, temporalities, sensitivities, languages, and positions. By attending to what resonated among us, we identified elements within our own practices that quietly oriented the research, suggesting where to linger, what to hold, and how to proceed without predefinition.
As our attention shifted to what happens between practices, the stakes of sharing became increasingly perceptible. With each encounter, MINA reorganised itself, revealing implicit logics shaping how we collaborated. What mattered was less the establishment of rules than the ongoing work of adjusting, attuning, and sustaining the conditions that allow sharing to take place.
As MINA evolved, we began to notice that questions of responsibility, care, and positioning were already operating within the encounters themselves. What follows is a set of provisional directions shaped through practice, helping to situate MINA’s encounters and sustain the possibility of continuation:
* Everyone who attends is a participant
We understand attendance as participation: each presence contributes to and transforms the collective situation. Participation is not measured by visibility or output, but by engagement, attention, and responsiveness.
* Thinking connections through us
We attend to what might connect different trajectories, awaken curiosity, and resonate within specific contexts, rather than assuming universal formats or outcomes. Each encounter is shaped in relation to those involved.
* Knowledge as unfolding, not result
We value knowledge not as something to be extracted or accumulated, but as something that unfolds through situated practices and shared situations.
* The political reveals itself in sharing
We privilege participation over exhibition and collective sense-making over individual presentation. Sharing is never neutral: it redistributes attention, voice, and visibility.
* Not defining is a conscious choice
We create devices that allow practices to unfold in their own rhythms and languages. Delaying definition becomes a way of resisting premature closure and maintaining openness.
* Opening the inside to the outside
We connect academic and cultural contexts expanding institutional boundaries through modes of inhabitation.
We aim to create spaces where sharing can emerge organically, supported by listening, presence, and openness to difference. Doing so also requires recognising the risks of false openings and situations in which listening becomes procedural rather than receptive.
This awareness has led us to develop devices that make visible gestures of giving, receiving, interrupting, and reconfiguring. Through these situations, we stay with how practices stretch, how responses unfold, and how collective meaning takes shape in the space between friction, resonance, and mutual transformation.
From this perspective, cultivating sharing reveals that knowledge does not emerge in isolation, but through relations between practices, materials, and lived experiences. In this sense, sharing becomes a method: embodied, situated and reciprocal. This leads us to ask how conditions can be sustained so that sharing takes place genuinely, beyond expectation, prescription, or format — how sharing might operate as a form of artistic mattering.
* These directions remain open and experimental. They are reshaped with each encounter, as changes in practices transform what it means to continue working together.
