An increasing wave of art events has occurred since the 1990s that have displayed significant similarities with anthropology and ethnography in their theorisations of cultural difference and representational practices. In this theme issue the authors aim to revisit the ethnographic turn in contemporary art by focusing on practice-led research. Contributions were collected from theorists, artists and critics, to engage critically with the ethnographic perspective in their work. Next to full research papers the authors also invited short statements and reflections by artists about their practice. In this introductory article, the issues at stake in the ethnographic turn in contemporary art are explored in greater detail.

This study discusses the representation of (the) literacy (myth) in popular movies and a teaching and research project on cinematic literacy narratives. It attempts to reveal the existence of a powerful ‘Pygmalion template’ in contemporary movie culture. Focusing on a discourse or culture clash ‘Pygmalion movies’ simultaneously contribute to the discursive construction and deconstruction of the literacy myth. Because of their polysemic character, these films offer fertile grounds for inquiring into the problematic nature of literacy acquisition and discourse or culture clashes. Inviting pre‐service teachers to reflect on these issues, the authors created a curriculum as contact zone in which films are used as a primary source of knowledge and insight together with students’ movie analyses and interpretations, personal narratives, and theoretical readings. This exploratory study of on‐line discussion groups revealed the students’ contradictory and competing movie readings. Organizing the curriculum as a contact zone deepened the students’ and one’s own understanding of literacy as an ideological site of struggle in (movie) culture.

Participatory art has become an umbrella term for a broad range of artistic practices that focus on the importance of participation, interaction, social networks and processes as a crucial part of art projects and that move away from an exclusive focus on clearly defined and delineated art products. At the same time, the notion of participation in the arts is inevitably influenced by the increasing ubiquity of digital culture in which “participation” is a central feature. In this special issue of Critical Arts we aim to explore art practices that specifically engage with participation, interaction, technology and digital media. We have sourced papers from researchers, theorists and artists to engage critically with how technology, media and networks open up new avenues to develop practices that examine space and locality, community and communication, interaction and intimacy, proximity and distance, creation and co-creation.