This paper deals with the ecological potential of participatory art practices in the context of everyday urban life. The author examines the range of their contribution in the fight for the recognition of their different modes of creation, thinking, acting and use of an urban public space in terms of connectivity in the community. Such thought and action can be productively integrated into the concept of new spatial ecologies. We are not talking only about certain environmental initiatives, which are especially close to heart of individual artists (the current practices of artist from the circle of Celje Fine Artists Society serve as a case study in this paper), but also about understanding ecology in much broader sense relating to the relationship of people towards urban space as dwelling area, living space, or domicile. In order to have an urban space capable of offering optimal conditions in a given crisis situation, its inhabitants should think and act sustainably, strive for dynamic balance and harmony, and persistently develop ethical consumption models and also embark upon a unique ecology of mind and body in a space which is becoming increasingly limited in size. Therefore, we need to open interspaces or invent new spaces in the abstract and capitalistically alienated urban space—the space that would be founded in reality and utopia at the same time. City dwellers create their own spatial fictions, invent eco living solutions and wave a net of inventive, mobile, and sometimes impossible connections. The contribution of cross-disciplinary, research-focused, participatory, activist and eco-oriented art, as practiced by the DLUC artists, who strive with their own unique methods for a more open—both mentally and physically—urban public space, is far from negligible, and also cannot be overlooked on the Slovenian artistic scene.
