Assuming the democratic nature inherent to the performative turn in art practices – which exceeds the property law both for the artist and her publics – this paper aims to explore those experiences in which the artist’s output enables the collective creativity, by mobilising the concept of liveness as presence and participation. The research, after an excursus about the possible categories implied in the squatting practice, intends to focus on its cultural variant, as a performative method addressed to aesthetical, communicative e political objectives. Through the hermeneutical interpretation of such experiences’ premises and working, as well as the mention of some cultural squatting cases– albeit synthetic, due to the economy of the research – across the Italian territory, the paper will give back a different reading of such cases, proposing them as moment of activation and spaces of intersection of liveness’ different levels, laid out to the endow cultural and political agency of publics as collectivity.