Since the 1990s there has been a considerable push in art practice towards socially-engaged, participatory methods. Instead of removing art from the ‘useless’ domain of aesthetics and relocating it into praxis or politics, this year’s Hardbakka Ruins Project aims to think about art as existing in an ambiguous territory that deals with complex social concerns like political engagement, affect, inequality, class, narcissism, and social norms….[read on…]