{"id":737,"date":"2022-07-16T22:42:12","date_gmt":"2022-07-16T22:42:12","guid":{"rendered":"https:\/\/sites.saic.edu\/emerge2022\/?page_id=737"},"modified":"2023-02-21T22:56:29","modified_gmt":"2023-02-21T22:56:29","slug":"about","status":"publish","type":"page","link":"https:\/\/sites.saic.edu\/emerge\/about\/","title":{"rendered":"ABOUT"},"content":{"rendered":"\n

The Change Issue
2023<\/h3>\n\n\n\n

Another world is not only possible, she is on
her way. On a quiet day, I can hear her breathing.<\/em><\/h4>\n\n\n\n

— Arundhati Roy<\/p>\n\n\n\n

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Editor’s Note<\/strong><\/p>\n\n\n\n

We started working on this issue in the fall of 2021, it was the beginning of our first semester in the Arts Administration and Policy Master\u2019s program at the School of the Art Institute of Chicago (SAIC). Then, neither of us had been students for years, and we hadn\u2019t co-existed in such a vast artist community since before the pandemic. Masks were (and still are) mandatory, our vaccination status was closely monitored, and our interactions felt conditioned by a fear of contagion. It was as if the masks we wore between our mouths and the air were manifesting themselves as a barrier in our ability to build a community.

Since the beginning, this issue of emerge<\/em> was focused on \u201cchange,\u201d and among the myriad of directions this issue could have gone in, we decided to direct our attention on how to deal with this barrier in a variety of other situations outside of our privileged academic context. We clung on to the word breathing for guidance, partly inspired by Franco Berardi\u2019s ideas on how the breath can stimulate a new path for a society who is no longer in tune with its biological rhythms. If inspiration is another word for breath, how can we breathe together, how can we co-inspire<\/strong>? Is this return to the physical world an opportunity to be mindful of other people\u2019s rhythms–of the inhalations and exhalations that occur in beats outside of our own?

To ground change, transmutation, metamorphosis, and transubstantiation in arts administration, this issue focuses on creative leaders who are working with improvisational practices, using their intuition, encouraging flexibility, and growing from neoliberal and patriarchal paradigms. The artwork and poetry populating these pages are the result of an open call to SAIC students for creative work related to change, improvisation, and co-inspiration. Finally, much of our editorial and fundraising efforts were dedicated to printing this issue in hopes that the work will be circulated within other arts administrators around the world. Take this copy, read her out loud, skim, read her quietly, take notes, draw, and pass along to a friend.

We are enormously grateful to Adelheid Mers, Chair of the Art Administration and Policy Department; to Asha Iman Veal, our Editorial Advisor; to Benita Nnachortam who helped conceptualize the issue; to the vulnerability, patience, and generosity of our creative contributors; and to all of the individual SAIC departments who supported our project.<\/h5>\n\n\n\n

— Marielle Mervau and In\u00e9s Arango Guingue, Editors.<\/p>\n<\/div>

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Editor-in-Chief:<\/strong> In\u00e9s Arango Guingue<\/h5>\n\n\n\n

In\u00e9s Arango-Guingue is a curator, artist and writer from Bogot\u00e1, Colombia. Believing in art\u2019s potential to mobilize ideas and shift paradigms, Arango-Guingue engages with contexts that explore non-rationality as a change-inducing practice, and explores curating as a community-building practice. Her recent research centers the power of invisibility, magic and opacity. She has organized exhibitions in Bogot\u00e1, New York City, Barranquilla, and Cali, and directed artists’ spaces, residencies and art education programs. She has worked with Le\u00f3n Tovar Gallery in New York City, Museo del Banco de la Rep\u00fablica in Bogot\u00e1, and as Assistant Curator of Ath\u00e9n\u00e9e Press. She recently curated and facilitated Fantasmas Y Paratexto (Ghosts and Paratext)<\/em> at Museo del Banco de la Rep\u00fablica in Bogot\u00e1, a five-month long residency and exhibition program financed with a grant awarded by the city of Bogot\u00e1. As part of the School of the Art Institute of Chicago\u2019s Master of Arts Administration and Policy\u2019s 2023 cohort, In\u00e9s is co-editor of the department\u2019s journal, Emerge<\/em> and a Graduate Fellow of SAIC\u2019s Institute for Curatorial Research and Practice.<\/p>\n<\/div>\n\n\n\n

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Associate Editor: <\/strong>Marielle Mervau<\/h5>\n\n\n\n

Marielle Mervau (she\/her) is an organizer and arts administrator based in Chicago, IL. Prior to relocating to Chicago, Marielle was the Curatorial Associate and Visitor Engagement Manager at the Institute of Contemporary Art, San Jose. Currently, she is the Grants Manager at Comfort Station and the co-founder of Companion Cooperative. Marielle is pursuing a Master’s Degree in Arts Administration and Policy from the School of the Art Institute of Chicago (SAIC). At SAIC, she is the Associate Editor of the Art Administration Department’s Emerge Journal<\/em> and previously served as a board member for the grantmaking “Enrichment Fund.\u201d Marielle\u2019s research interests include cultural policy, solidarity economies, funder relations, and the non-profit lexicon.<\/p>\n<\/div>\n\n\n\n

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Web Design: <\/strong>Lindsey Hayakawa<\/h5>\n\n\n\n

Lindsey Hayakawa is a nonprofit administrator originally from Pittsburgh, Pennsylvania, and currently living and working in Chicago, Illinois.\u00a0She received her Bachelor of Fine Arts in Ceramics and Art History Minor from Pennsylvania State University in 2012. Since 2015, Hayakawa has worked in development, fundraising, and communications for Sojourner House, a Pittsburgh-based nonprofit organization that provides housing and addiction treatment services to families, specifically mothers with children. Hayakawa has over seven years of experience in executive level administrative support, donor database management, coordinating fundraising events, design project management, as well as grant writing and funding research. She is currently working as a graduate assistant for the Department of Arts Administration and Policy at the School of the Art Institute of Chicago, where she is pursuing a Master of Arts in Arts Administration and Policy.<\/p>\n<\/div>\n<\/div>\n\n\n\n

Acknowledgements<\/strong><\/p>\n\n\n\n

This issue of emerge <\/em>has been generously funded by several departments at the School of the Art Institute of Chicago. We would like to acknowledge their support for this project, and thank them for trusting in the importance of this project.

Our gratitude goes to:

Adelheid Mers, Chair of the Arts Administration and Policy Department
Daniel Quiles, Chair of the Art History, Theory and Criticism Department
Delinda Collier, Dean of Graduate Studies and the Graduate Division Department
Katrina Valera, Director of Multicultural Affairs
Trevor Martin, Director of Exhibitions and the Exhibitions Department
Dio Aldridge, Associate Director of Diversity, Equity and Inclusion for Academic Affairs
Romi Crawford, Chair of the Visual and Critical Studies Department<\/h5>\n\n\n\n
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emerge@saic.edu<\/a><\/p>\n\n\n\n