Close to 100 artists and activists staged a protest at the Brooklyn Museum yesterday afternoon in response to displacement — both in Brooklyn and Palestine.
In an endeavor to raise awareness at the local and international level, Razia organized the Mifohaza Masoala (Wake Up Masoala) music and environmental festival, which took place at the edge of the Masoala Rainforest in October 2011. The concert featured some of Madagascar’s most thrilling performers, and the festival was a tremendous success, with over 10,000 people in attendance.
Reading the introduction to Animal Farm by Christopher Hitchens a few years ago, I was stunned to learn that George Orwell, then a struggling writer in London, worked by letter with a group of refugees to publish the novel in Ukrainian in the displaced persons camps of postwar Europe.
Born in China in 1941, artist Lily Yeh experienced first-hand the ravages of that country’s civil war when her family became refugees, fleeing to Taiwan as the communists took over. That personal story and the story of Yeh’s global art activism with communities from North Philadelphia to Rwanda and China is the subject of a new documentary film, The Barefoot Artist, now in post-production and ready for viewing later this year.
Fresh off the Boat examines the immigrant struggle told from the perspective of Eddie Huang, a modern day chef and video entrepreneur who has found a way to use food to explore culture, diaspora, and more through food, television, and the book that I am discussing now.
This book serves as an important storytelling experience of the immigrant and helps bridge the generational struggles often seen in these stories.
Foreigners out! Schlingensiefs Container (Ausländer raus! Schlingensiefs Container), alternately named "Wien-Aktion", "Please Love Austria—First European Coalition Week", or "Foreigners Out—Artists against Human Rights", is an art project and television show from 2000 that took place within the scope of the annual Wiener Festwochen. It was created by Christoph Schlingensief and directed by Paul Poet.
In Halt, a new solo piece premiered at
NYU Gallatin, dancer and choreographer
Jamar Roberts examined the language of
the body in protest. The work focuses
on what it means for human beings-the
committed individual and the organized
collective- to be equally the subjects
of progressive change and the targets
of unjust corporeal punishment.
“Rose Boy” (玫瑰少年) refers to Yeh Yung-chih, a 15-year-old junior high school student in Taiwan who died on April 20, 2000, after years of bullying due to his non-conforming gender expression. Though the official cause of death was ruled accidental—he allegedly slipped in a school bathroom—the circumstances surrounding his death, including prior complaints from his mother about repeated verbal and physical harassment, drew widespread public attention.
Alokananda Roy walked into Calcutta's Presidency Jail on International Women's Day, 2007. The Indian classical dancer had been invited to watch female inmates perform, but it was the men who caught her eye.
"They shook me," she says. "Their body language — it was as though they had no future, nothing to look forward to."
In France, abstention, vote of protest, lassitude or violent reactions rise from all over the crisis of our "representative democracy ».
What about thinking the other way round ? What if we reappropriate the iconography of the election?
ArtistsActivists is a youth empowerment and advocacy organization started in 2011 by graduate students at Yale University. Through the various ArtistsActivists programs, artists and designers share their skills with young people around the world. Since more people are joining our team bringing with them certain skills and project ideas, the Artists Activists mission is constantly evolving.
On December 1, 1994 also known as World AIDS day, participating members from LSD (Lesbianas Sin Duda), La Radical Gai, and other allies sought out to protest against the push back of rejection that many of them were receiving from the medical and social perspective.
At first, you don’t know what you’re looking at. A gray expanse of uneven geometry surrounded by undulating brown. Shift your perspective a bit and it might be a close-up of a distressed textile, with subtle hues and textures surfacing as your eyes adjust.
And then the horizon comes into focus. Now you know where you are. In the distance are the classic jutting buttes of Monument Valley, familiar to anyone who’s ever seen a John Ford Western.
Play Smart a series of yearly events where photographers and designers are gathered and designed cards to trade. It has lasted from 2010 to this year. Play Smart 2010 is the first in the series. In 2010, Play Smart featured photographers Aaron Cobbett, inkedKenny, Greg Mitchell and Slava Mogutin and was designed by John Chaich.
Founded 19 years ago, the Beijing Queer Film Festival (aka Love Queer Cinema Week) is one of the grassroots film festivals in China focusing on independent queer film screenings and cultural exchange activities. We aim to expand public discussions on sexuality / gender identity / gender expression, we aim to give a platform to sexual and other minorities in China and the World, and we celebrate diversity.
Linha Vermelha was created in 2016 by the non-profit organization Academia Cidadã (Citizenship Academy). At that time there were fifteen active contracts for oil and gas drilling and we were inspired by the “Red Line Action” in Paris, during COP21 and decided to create this campaign.
To state or chant ‘BLACK LIFE’S MATTER’ is not to say other lives don’t matter, it’s a reminder that four hundred years and counting, black lives didn’t matter enough. Not during the dark era of slave trade and its horrors on the African, not after slavery ended and blacks were left holding the short end of the stick.
Las Vulpes was the first spanish punk rock band formed only by women. It was founded in Baracaldo (Vizcaya, Basque Country) in the summer of 1982, as a result of the guitarist´s desire on creating an all women punk band. After a few changes, the final formation consisted on: Loles Vázquez (guitar), Mamen Rodrigo (voice), Begoña Astigarraga (bass) and Lupe Vázquez (drums), all between 17 and 22 years of age.
David Opdyke’s wry, panoramic visions of an America perceptibly in the grips of climate crisis were born of an artistic crisis—of “needing to come up an idea by digging somewhere other than my own brain.” Having drawn on his imagination to conjure up the trenchant, ecologically-inflected critiques of American imperialism and late-stage capitalism that have defined his work for twenty years, he wondered what more he might, artistically speaking, say.
Máximas de Seguridad, a survival manual written and illustrated by Jhafis Quintero creates a new voice for the voiceless, vulnerable and underprivileged groups in prisons and creates empathy for those that are labeled as dangerous by society. The manual aims to provide empathy and humanity in light of the public scrutiny that ex-prisoners endure in the transition to social reintegration.
Rooted in Native American and indigenous practices,[11] restorative justice is a set of principles and practices that aims to help communities heal from conflict and harm by developing a common understanding of the root causes and effects.[12] Restorative justice can occur in a variety of different contexts: in the workplace, at schools and within, or instead of, the criminal justice system.
In her 2021 graduation project from the Central Academy of Fine Arts (CAFA), Chinese performance artist Zou Yaqi staged a provocative social experiment titled “21-Day Survival Challenge.” For three weeks, Zou assumed the persona of a wealthy socialite, using counterfeit luxury items, strategic self-presentation, and social engineering to access elite spaces in Beijing—such as five-star hotel lobbies, first-class airport lounges, and high-end restaurants
The Couple in the Cage documents the travelling performance of Guillermo Gómez -Peña and Coco Fusco, in which they exhibited themselves as caged Amerindians from an imaginary island. While the artists’ intent was to create a satirical commentary on the notion of discovery, they soon realized that many of their viewers believed the fiction, and thought the artists were real “savages”.