Living as Form (The Nomadic Version)

  • Suzanne Lacy, The Roof is on Fire, 1993-94. Courtesy the artist.

  • Living as Form (The Nomadic Version), installation view, Richard E. Peeler Art Center, DePauw University, Greencastle, 2013.

  • Living as Form (The Nomadic Version), exterior view, Kadist Art Foundation, San Francisco, 2011.

  • The Complaints Choir, Chicago, 2007. Courtesy Clare Britt.

  • Suzanne Lacy, The Roof is on Fire, 1993-94. Courtesy the artist.

  • Elin Wikström, What would happen if everybody did this?, 1993. Courtesy the artist.

  • Living as Form (The Nomadic Version), installation view, The 4th Anyang Public Art Project, 2013.

Curated by Nato Thompson

Co-organized with Creative Time, Living as Form (The Nomadic Version) is an unprecedented international project that explores over 20 years of cultural works that blur the forms of art and everyday life, emphasizing participation, dialogue and community engagement.

In collaboration with 25 curators from around the world, Nato Thompson has selected 48 socially engaged projects as the foundation of this exhibition, which will expand as it travels. Further increasing the diversity of practices that are represented in the show, each hosting institution selects additional works to add to the exhibition, which tours via hard drive.  In addition to expanding the content of the exhibition, each collaborating venue organizes site-specific, socially engaged, commissioned projects or events that connect to the theme and “activate” the show. As the essence of the project is social engagement, each venue is also encouraged to provide participatory experiences that possess political or community-based content for visitors to encounter.  Examples of events already held by presenting venues include a conversation between San Francisco-area artists and high school students at a screening of Suzanne Lacy’s The Roof is On Fire; an artists’ talk with Hong Kong-based video artist/activists; a mural project with the Juvenile Justice Center of Mahoning County in Ohio addressing themes of community, social justice, and individual rights; workshops connecting veterans with civilians with Warrior Writers, a Philadelphia-based arts organization; and presentations by Sahrawi artists during the Arts and Human Rights Festival in the Sharawi refugee camps of Tindouf, Western Sahara.

“Something historically unique is happening in cultural production that requires different rules for art than those of the 20th century,” says Thompson. “This culturally savvy method of civic production has manifested in everyday urban life and growing civil unrest.  Living as Form is an opportunity to cast a wide net and ask: How do we make sense of this work, and in turn, how do make sense of the world in which we find ourselves?”

Living as Form (The Nomadic Version) is the flexible, expanding iteration of Living as Form, a site-specific project presented by Creative Time in the historic Essex Market in New York from September 24–October 16, 2011. More information about the original iteration of the exhibition can be found on Creative Time’s website here.


Nato Thompson

Nato Thompson joined Creative Time in January 2007. Since then, Thompson, who is Chief Curator, has organized such major Creative Time projects as The Creative Time Summit (2009–2013), Kara Walker’s A Subtlety… (2014), Suzanne Lacy’s Between the Door and the Street (2013), Nick Cave’s HEARD•NY (2013), Trevor Paglen’s The Last Pictures (2012), Living as Form (2011), Paul Ramirez Jonas’s Key to the City (2010), Jeremy Deller’s It is What it is (2009, with New Museum curators Laura Hoptman and Amy Mackie), Democracy in America: The National Campaign (2008), and Paul Chan’s Waiting for Godot in New Orleans (2007), among others. Previously, he worked as Curator at MASS MoCA, where he completed numerous large-scale exhibitions, including The Interventionists: Art in the Social Sphere (2004), with a catalogue distributed by MIT Press. His writings have appeared in numerous publications, BookForum, Frieze, Art Forum, Parkett, Cabinet, and The Journal of Aesthetics and Protest among them. In 2005, he received the Art Journal Award for distinguished writing. For Independent Curators International (ICI), Thompson curated the exhibition Experimental Geography, with a book available from Melville House Publishing. His book Seeing Power: Socially Engaged Art in the Age of Cultural Production is forthcoming from Melville House in 2013.


touring schedule

Art & Society Research Center
Tokyo, Japan
November 15, 2014 - November 28, 2014

Plains Art Museum
Fargo, ND, United States
June 12, 2014 - September 14, 2014

Technion – Israel Institute of Technology
Haifa, Israel
May 28, 2014 - June 28, 2014

Herndon Art Gallery, Antioch College
Yellow Springs, OH, United States
April 18, 2014 - May 15, 2014

Carpenter Center for the Visual Arts
Cambridge, MA, United States
February 6, 2014 - April 6, 2014

Artport Tel Aviv
Tel Aviv, Israel
December 26, 2013 - March 7, 2014

Museo de Arte Sinaloa
Sinaloa, Mexico
November 14, 2013 - February 13, 2014

The 4th Anyang Public Art Project
Anyang, South Korea
October 26, 2013 - May 15, 2014

Richard E. Peeler Art Center
Greencastle, IN, United States
September 5, 2013 - December 6, 2013

TheCube Project Space
Taipei, Taiwan
June 29, 2013 - August 10, 2013

CCI Fabrika
Moscow, Russia
February 4, 2013 - February 28, 2013

Galleries at Moore College of Art & Design
Philadelphia, PA, United States
January 26, 2013 - March 16, 2013

Tifariti, Western Sahara
October 15, 2012 - October 30, 2012

McDonough Museum of Art
Youngstown, OH, United States
September 7, 2012 - November 9, 2012

Kadist Art Foundation
San Francisco, CA, United States
April 17, 2012 - November 9, 2012

Kowloon, Hong Kong
March 1, 2012 - May 10, 2012

University Art Gallery, University of California, San Diego
San Diego, CA, United States
February 2, 1985 - March 2, 1985

Booking Info

NEW YORK, NY 10013
T: +1 212 254 8200 F: +1 212 477 4781
E: .(JavaScript must be enabled to view this email address)