The generative and stimulating dimensions of the arts create new forms and formats for social impact. They have the potential to produce new social relations and to generate political debate by establishing altered orders of artistic perception. Cultural practices are caught up in the dialectical field of the poetics of intervention: what is the scope of interventionist art? What are its boundaries? What are its possibilities and pitfalls? How can artistic form develop a dynamic not merely for the representation of the social but for its generation? How can artistic practices oppose political being co-opted politically, neutralized socially, and being institutionalized in ways that that absorb and threaten their potential for intervention? And is interventionist art characterized by a self-reflection so enveloping that it does not draw the line at an examination of the term of “art” itself?
The CRC distinguishes between interrelated poetics of intervention and is divided into three main areas: Area A: Participation – Separation, Area B: Movement – Interruption, and Area C: Drafting – Discarding.