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The article outlines the new international research area, the so-called "Boyhood Studies" and the corresponding Nordic boyhood studies that are seen in interaction with on the one hand the recent men's Studies and masculinity research and on the other hand the more established women's- and gender studies. The field is described with references to central theoretical and methodological positions within the humanities and social studies during the last decades. On this background, advantages and disadvantages of the current differentiation and the many different concepts are discussed ad well as the future perspectives of the field.

Western European cultural policies increasingly target marginalized and socially deprived communities. In Denmark, this happens in the political and discursive context of the so-called "ghetto act" (2018), a set of laws and amendments aimed at radically changing low-income public housing neighbourhoods with a high percentage of "non-Western" residents. Consequential, several Danish public housing neighbourhoods undergo drastic renovation and demolition. Simultaneously, cultural governing bodies and institutions approach the neighbourhoods with a variety of publicly funded projects in arts and culture. These are part of a general strategy to reach new audiences / user groups by supporting art manifestations outside the formal art institutions but also of a more specific betterment agenda based on the assumption that the deprived social housing areas can be "elevated" through art and cultural projects. Based on research in four Danish social housing areas in urban margins, the article introduces the social and cultural policies targeting the areas. We identify a triple exposure to social inequality, stigmatization and intervention, and ask how public art projects in the areas interact with and may resist this exposure. From the perspective of Chantal Mouffe's notions of antagonistic politics and dissensual artistic practices, we explore a range of public art projects in four selected social housing areas, and identify four different types of art projects: 1) permanent physical interventions, 2) temporary (re)makings of the neighbourhood, 3) reinforcement of creative skills and agency, and 4) co-inhabitation. Presenting cases from each of these four types, we outline their challenges and potentials. Finally, we discuss how they fit into and/or negotiate the "betterment" agenda and the seemingly neutral vision of the mixed, balanced, or creative city.

Western European cultural policies increasingly target marginalized and socially deprived communities. In Denmark, this happens in the political and discursive context of the so-called "ghetto act" – a set of laws and amendments from 2018 aimed at radically changing low-income public housing neighborhoods, designated as "ghettos" or "tough ghettos" on the basis of five criteria, including the percentage of "non-Western" immigrants and descendants. Consequential, several Danish public housing neighborhoods right now undergo drastic renovation and demolition and simultaneously face increasing stigmatization. Formally independent of but parallel to this, we witness an interest in the residents of the same neighborhoods from cultural governing bodies and institutions, and an initiation of a variety of publicly funded projects in arts and culture. These are part of a general strategy to reach new audiences/user groups by recognizing and underpinning art manifestations outside the formal art institutions and closer to the citizens. But they are also part of a more specific betterment agenda based on the assumption that the deprived social housing areas and their residents can be "elevated" through art (Kunstfonden 2019) and that engagement in cultural projects can counteract isolation and prevent the formation of "parallel societies" (Minister of culture Mette Bock, 2019). The article builds upon research carried out in the project "Citizen-near art in deprived social housing areas" (2019-21) by Anne Mette W. Nielsen, Mia Falch Yates and the authors. The project is part of an overall research program on "Art and social communities", funded by The Danish Arts Foundation and Arts Council Norway. In the research project we study art projects in the following four Danish social housing areas: Gellerup in Aarhus, Stengårdsvej in Esbjerg, Værebro Park in Gladsaxe and Vollsmose in Odense. The research includes observations, interviews and document analysis of policy documents, project applications, minutes from public meetings and more (Eriksson, Nielsen, Sørensen and Yates, in press). Based on our research, we introduce the history and emotional geographies of the areas and the social and cultural policies targeting them to constitute a triple exposure of social inequality, stigmatization and intervention. We further suggest a typology of art projects with each their way of establishing socio-aesthetic relations in the present cultural and political context: 1) permanent physical interventions, 2) temporary (re)makings of the neighborhood, 3) creative skills and agency, and 4) co-inhabitations. In the article, we present cases from each of the four types and outline how they relate to the socio-economic agendas. Finally we discuss the aesthetic, social and political potentials and dilemmas of the various types of public art projects in social housing areas. ; Western European cultural policies increasingly target marginalized and socially deprived communities. In Denmark, this happens in the political and discursive context of the so-called "ghetto act" (2018), a set of laws and amendments aimed at radically changing low-income public housing neighbourhoods with a high percentage of "non-Western" residents. Consequential, several Danish public housing neighbourhoods undergo drastic renovation and demolition. Simultaneously, cultural governing bodies and institutions approach the neighbourhoods with a variety of publicly funded projects in arts and culture. These are part of a general strategy to reach new audiences / user groups by supporting art manifestations outside the formal art institutions but also of a more specific betterment agenda based on the assumption that the deprived social housing areas can be "elevated" through art and cultural projects. Based on research in four Danish social housing areas in urban margins, the article introduces the social and cultural policies targeting the areas. We identify a triple exposure to social inequality, stigmatization and intervention, and ask how public art projects in the areas interact with and may resist this exposure. From the perspective of Chantal Mouffe's notions of antagonistic politics and dissensual artistic practices, we explore a range of public art projects in four selected social housing areas, and identify four different types of art projects: 1) permanent physical interventions, 2) temporary (re)makings of the neighbourhood, 3) reinforcement of creative skills and agency, and 4) co-inhabitation. Presenting cases from each of these four types, we outline their challenges and potentials. Finally, we discuss how they fit into and/or negotiate the "betterment" agenda and the seemingly neutral vision of the mixed, balanced, or creative city.

This article presents a case study of the assembled events of The PartisanCafé and The Museum of Burning Questions, curated by the transnational groupfreethought as part of their contribution to the Bergen Assembly 2016. It is arguedthat the assemblage forms an experiment to materialize present theories of radicaldemocracy and the radical art institution, respectively, and take the form of apara-institutional artivism. On this ground, and drawing on the concept of theassemblage, it is discussed what the outcome and learning of the experiment mightbe. The events played simultaneously in the city and on social platforms such asFacebook, mixlr and vimeo and together with released material on the internetfrom freethought these resources provide the empirical base of the case study. Theauthors participated in the opening week of September 2016 and the analyses aresupported by on site observation.

This article presents a case study of the assembled events of The PartisanCafé and The Museum of Burning Questions, curated by the transnational groupfreethought as part of their contribution to the Bergen Assembly 2016. It is arguedthat the assemblage forms an experiment to materialize present theories of radicaldemocracy and the radical art institution, respectively, and take the form of apara-institutional artivism. On this ground, and drawing on the concept of theassemblage, it is discussed what the outcome and learning of the experiment mightbe. The events played simultaneously in the city and on social platforms such asFacebook, mixlr and vimeo and together with released material on the internetfrom freethought these resources provide the empirical base of the case study. Theauthors participated in the opening week of September 2016 and the analyses aresupported by on site observation.