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=='''Open Call:'''==
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<big>'''The [[Global Informality Project]] invites submissions to the [[Informal Art]] Hub with a prospect of a volume on Informal Art for the UCL Press [https://www.uclpress.co.uk/collections/series-fringe Fringe series:]'''</big><br>
[[File:FringeVolume3v5.png|none]]
 
*Art that operates in fringe sites/spaces
 
*Art embodying fringeness
 
*Art that is made using fringy techniques
 
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Any existing link to the work/artefacts/ exhibitions/ private spaces, galleries and museums/video and visual material/archives, transmedia that you would consider informal (please explain why you think your submission fits in).
 
We seek to assemble a collection that captures the spirit of ambivalence: artistic visualisation of the invisible; verbalisation of the non-verbal; art as a by-product of life, rather than intended production; artful responses to formal constraints; performative artefacts and practices that resist archiving.
We are looking for documentation of completed visual art projects that relate to themes of informality. Through this archive, we want to explore the artistic approaches that can contribute to our understanding of informality.
 
The Global Informality Project (GIP) is an interdisciplinary research project led by the FRINGE Centre with support of the UCL School of Slavonic and East European Studies. It explores the social and cultural complexity of informal practices and structures from a global perspective since 2014. Through its comparative and ethnographic investigations, the project explores practices of resilience, resistance, subversion; multiple moralities and relationships with social norms emerging in cultural production all over the globe in response to the challenges and constraints of the contemporary world.
 
While the focus of the Global Informality Project is on unwritten rules, open secrets and hidden practices, the prospective volume will embrace artwork that questions or supersedes our ability to categorise clearly, associated with tensions of decolonisation, trans practices, post-humanity, digitalisation, migration, care of self and the planet; as well as conceptualise informal art.
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Please contact us via at [[informalart2024@gmail.com]] with an expression of interest. Your preliminary submission should include:
<span style="font-size:180%; line-height:110%">‛''A hitchhiker’s guide to informal problem solving in human life.''’</span><br>
 
*'''Name of the Artist'''
 
*'''Name of an entry (if any)'''
 
*'''Four hi-resolution images to be hosted directly on in-formality.com – you must indicate who holds the copyright for these images'''
 
*'''Date and Venue of Exhibition (if relevant)'''


Edited by: Alena Ledeneva with Elizabeth Teague, Petra Matijevic, Gian Marco Moisé, Piotr Majda and Malika Toqmadi
*'''Location/link to the website (if available)'''
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The FRINGE series explores the roles that complexity, ambivalence and immeasurability play in social and cultural phenomena. A cross-disciplinary initiative bringing together researchers from the humanities, social sciences and area studies, the series examines how seemingly opposed notions such as centrality and marginality, clarity and ambiguity, can shift and converge when embedded in everyday practices.
*'''Short description (not exceeding 100 words)'''
 
*'''Email subject containing the phrase: "Expression of interest, volume 3, and keyword of your submission"'''


Alena Ledeneva is Professor of Politics and Society at the School of Slavonic and East European Studies of UCL.
The project team runs a self-nominated system of deadlines, so please suggest a deadline that is realistic for you to prepare your final submission.
We offer no payment for submissions, as the hub will be in Open Access.
Below you can see submissions towards this project here.


Pert Zusi is Associate Professor of Czech and Comparative Literature at the School of Slavonic and East European Studies of UCL.


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[[File:Published vols download 2.png|20px|link=https://www.ucl.ac.uk/ucl-press/browse-books/global-encyclopaedia-of-informality-ii]] '''[https://www.ucl.ac.uk/ucl-press/browse-books/global-encyclopaedia-of-informality-ii Download Volume 2 from UCL Press]'''<br>
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'''NO TALKING // NO READING // NO DRAWING (2019)'''
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The Invigilator Research Network (IRN) is an evolving group of visual artists who work as gallery guards, while using their jobs as sites of performance. Produced by this partially anonymous UK network of 16 guards, the 2019 exhibition examines the informal practices contesting the existing rules for invigilators. This contemplative collection of drawing and writing when on duty explores the degree of privacy and freedom at the workplace. Such practices have no collective name: they are less universal than individual doodling at meetings, but more consolidated, even if by word-of mouth, as practices of secret resistance to the gallery management culture. Identifying these semi-covert, knowingly overlooked, or unacknowledged informal practices is a step towards the conceptualisation of the transgressive, bottom-up performances of self-expression by invigilators in art galleries and museums across the United Kingdom.</big><br>
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<big>'''Author''': Invigilator Research Network</big><br>
 
<big>'''Venue''': Transforming Finance Conference 2019 by People's Private Equity, University of Greenwich, London</big><br>
 
<big>'''Link to the work''': https://invigilatorresearch.org/nodrawing/</big><br>
 
<big>'''Direct link to the catalogue''': https://drive.google.com/file/d/1BJ6JGFF1ToKBiSF7QKA8qFlADehnQC-m/view</big><br>
 
<big>'''Gallery''': [[GALLERY_-_NO_TALKING_//_NO_READING_//_NO_DRAWING_(2019)|See more]] </big><br>
 
<big>'''Further reading''': Mathur, S. and Singh, K. eds., 2017. ''No Touching, No Spitting, No Praying: the Museum in South Asia.'' Routledge</big><br>
 
NO TALKING // NO READING // NO DRAWING''' © 2019 by [[Art|Simon Farid]]''' is licensed under [https://creativecommons.org/licenses/by/4.0/?ref=chooser-v1 '''CC BY 4.0'''] / [https://creativecommons.org/licenses/by/4.0/?ref=chooser-v1 Attribution 4.0 International]
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[[File:GEI vol1 vol2 covers.png|link=Table_of_Contents]]
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<span style="font-size:180%; line-height:110%">‛''This is a monumental achievement – an indispensable reference for anyone in the social sciences interested in informality.''’</span><br>
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Martin Holbraad, Professor of Social Anthropology at UCL and editor-in-chief of Social Analysis
'''The Informal Museum (2024)'''  
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This unique collection invites you on a voyage of discovery, to explore society’s open secrets, unwritten rules and know-how practices. Broadly defined as ‘ways of getting things done’, these invisible yet powerful informal practices tend to escape articulation in official discourse. They include emotion-driven exchanges of gifts or favours and tributes for services, interest-driven know-how (from informal welfare to informal employment and entrepreneurship), identity-driven practices of solidarity, and power-driven forms of co-optation and control. The Global Encyclopaedia of Informality contains over 200 entries. From March 2018 to April 2019 the Encyclopaedia travelled the world on a [[Global Book Launch Events|global book tour]].
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[[File:Published vols download 2.png|20px|link=http://www.ucl.ac.uk/ucl-press/browse-books/global-encyclopedia-of-informality-i]] '''[http://www.ucl.ac.uk/ucl-press/browse-books/global-encyclopedia-of-informality-i Download Volume 1 from UCL Press]'''<br>
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<small>with an '''introduction''' by Alena Ledeneva,<br>80 entries and contribution by Zygmunt Bauman</small>
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[[File:Published vols download 2.png|20px|link=https://www.ucl.ac.uk/ucl-press/browse-books/global-encyclopaedia-of-informality-ii]] '''[https://www.ucl.ac.uk/ucl-press/browse-books/global-encyclopaedia-of-informality-ii Download Volume 2 from UCL Press]'''<br>
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<small>featuring more than 100 authors,<br>including Sheila Fitzpatrick and Vladimir Gelman</small>
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'''Read online'''
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'''[[The informal view of the world|Introduction]]''' | '''[[Main Findings|Main findings]]'''<br>
'''[[Table of Contents|Table of contents]]''' | '''[[Theoretical Framing of the Database|Theoretical framing]]'''
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The project emerged from research into informal vending practices and related production networks on Istanbul´s streets. The gained knowledge was then transferred into the museum context, dealing with creative and flexible strategies of art production and how these might enable a more open and participatory form of museum. By editing architectural sections of the venue, the drawings first break with the form of the museum before adding new „informal“ ideas. It´s not their intent to musealise informality, but to create awareness of social groups which are excluded from museum institutions and the art scene.</big><br>
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==Short introduction to the volumes==
<big>'''Author''': Helen Hümmer</big><br>
{{#evu:https://www.youtube.com/watch?v=oMlPMGmCrYw|dimensions=600x338}}


==Reviews==
<big>'''Venue''': Pera Museum, Istanbul, Türkiye</big><br>


'''Fradejas-García, Ignacio''':  
<big>'''Gallery''': [[The_Informal_Museum_(2024)_-_Gallery|The Informal Museum (2024)]]</big><br>


"In conclusion, this encyclopedia, due to its inherent comparative character, allows use its typology, which has been defined extensively in each chapter, both in the introductions as well as specific conclusions, to classify practices informal to be investigated in the future globally. However, we were wrong if we see the encyclopedia as an Encyclopedia with capital letter: both the Chapter introductions, like many of the entries, subsume a huge quantity of analytical and theoretical reflections of enormous depth. Yes, still If there were door-to-door encyclopedias sellers, this would be a bestseller."
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''Perifèria'' 23(2), 2018.
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[in Spanish] [https://doi.org/10.5565/rev/periferia.658 'Reseña de “The Global Encyclopaedia of Informality: Understanding Social and Cultural Complexity” de Alena Ledeneva (Ed.)']


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'''As Beru'''
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'''Hupp, S. L.''', West Virginia University at Parkersburg:
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The photos attached were taken during the Kazakh custom named As Beru (literally: giving out the meal). It is given to show respect and remembrance of one's ancestors. The host invites guests who are familiar with their ancestors. Usually, guests are people from the same village, colleagues, and other relatives. From the perspective of informality, the host family organizing the event establishes its status and power among other members of the community. This is demonstrated through organization and leading the event ([[As Beru - Gallery|Picture 2]]) and through financial investments ([[As Beru - Gallery|Picture 3]]). The event also involves financial donations (bata) for local religious leaders (imam) ([[As Beru - Gallery|Picture 4]]).</big><br>
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"To quote lead editor Ledeneva, this work deals with “the world’s open
secrets, unwritten rules, and hidden practices” as “ways of getting things
done.” This complex, highly theoretical book examines the use of family
contacts, friendships, bribes, favors, cronyism, language, and other informal
practices throughout human society. Essays, written by a score of scholars,
fall into four parts: redistribution (the role of relationships), solidarity
(conformity versus nonconformity), markets (economics), and domination
(power). Each section has a preface and conclusion. The entries are not
arranged in alphabetical order or in a time line. Rather, similar practices
followed in different countries are grouped together and identified by the
local term. Each chapter ends with a detailed bibliography. A glossary of
these terms appears in both volumes, which the editors suggest should serve
as the starting point for the reader. Detailed indexes are also included. A
larger number of terms included come from Russia and Eastern Europe and
date back to the communist era. An outgrowth of the Global Informality
Project, this book provides interesting insights into how similar practices
are carried out across different cultures. This work is not intended as a
ready reference or for undergraduates but stands as a complex study suited
for graduate students, scholars, and professionals."


''The Choice'', April 2019: 939.
<big>'''Artist''': Madi Zhakupbayev</big><br>


==About the FRINGE Centre for the Study of Social and Cultural Complexity==
<big>'''Date and Venue of Exhibition''': 16 June 2024; Dolon Village, Beskaragay District, Abay Region, Kazakhstan</big><br>


The [https://www.ucl.ac.uk/ssees/ucl-school-slavonic-east-european-studies-ssees FRINGE Centre] explores the roles that complexity, ambivalence and immeasurability play in social and cultural phenomena. A cross-disciplinary initiative bringing together scholars from the humanities and social sciences, FRINGE examines how seemingly opposed notions such as centrality and marginality, and clarity and ambiguity, can shift and converge when embedded in everyday practices. Our interest lies in the hidden complexity of all embedded practices, taken-for-granted and otherwise invisible subjects. Illuminating the 'fringe' thus puts the 'centre' in a new light.
<big>'''Gallery''': [[As_Beru_-_Gallery|As Beru]]</big><br>


The FRINGE Centre publishes the [https://www.ucl.ac.uk/ssees/fringe-centre/publications FRINGE series] with [http://www.ucl.ac.uk/ucl-press UCL Press].
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