Output details

The Institute for the Art and Practice of Dissent at Home - Labour and Financial Transparency practice-based research

This submission offers three arts projects 'A Key to Utopia', 'Macbethmachine', and 'Letter to the vacuum cleaner'; three publications 'Recuperator/Recuperated 3', 'Working Notes on the End of Capitalism and Performing in Couples' and 'Watch Out! Here Comes Uselessness' and a selection of 'Artist Residencies' at the Institute, namely Cinderella Residency 2012, Branka Cvjeticanin 2008, Ania Bas 2008, the very cooperative 2008 and 2012.

Dr Gary Anderson (50%) and Dr Lena Simic (50%)

REF output submission

The Institute for the Art and Practice of Dissent at Home – Labour and Financial Transparency practice-based research

The Institute for the Art and Practice of Dissent at Home has been set up and funded through 10% of the family's net income (parents' lecturer wages, freelance art work, children's child benefit – currently amounting to £425 a month). The research theme for this submission is 'Labour and Financial Transparency' and is named as 'practice-based research' by the Institute. The contribution to research emerges across the body of work that has been undertaken since 2008. The central research concern is the exposure of the lack of financial transparency regarding artists' labour within and around arts organizations nationally and internationally. The Institute are keen to question financial structures and intervene performatively into normative and secretive accountancy in the arts.

To support this claim this submission offers three arts projects 'A Key to Utopia', 'Macbethmachine', and 'Letter to the vacuum cleaner'; three publications 'Recuperator/Recuperated 3', ’Working Notes on the End of Capitalism and Performing in Couples’ and 'Watch Out! Here Comes Uselessness' and a selection of 'Artist Residencies' at the Institute.

100 word statement on co-authorship and the substantial and distinctive contribution of each of the submitting authors

The conceptual framework for this practice as research programme is fundamentally collaborative, arrived at jointly through the paradigm of housekeeping and financial operation of the Institute. The central research concern in this practice as research programme, which consists of three arts projects, three publications and four artist residencies, is the performative exposure of the lack of financial transparency regarding artists' labour. Within this research programme, Anderson and Simic each have substantial and distinctive contributions through the undermining of private/public binary: Simic regulates the domestic sphere, while Anderson liaises with the public institutions. This is evident across arts projects, publications and artist residencies.