"Las Carpetas looks at the bureaucratic residue of a 40-year-long secret surveillance program that aimed to destroy the Puerto Rican Independence Movement. Through still-lives, archival appropriation, and investigation, Christopher Gregory-Rivera provides a counter-history to the way many understand this period of time and its aftermath.
Organized in large part by Project Laundry List, in 2007 a four-hundred foot clothesline was strung in front of Hydro-Quebec headquarters to protest their destruction of the Rupert River and the traditional hunting grounds of the Cree and Innu so that people in the US and along the border can dry their clothes in a tumble dryer. Project Laundry List promotes clotheslines as a simple way for America to save 10% on its residential energy bill!
Justin Brice Guariglia’s We Are the Asteroid employs a highway message sign to bring attention to how anthropocentric, or human-centered, attitudes have allowed for unsustainable systems that contribute to climate change. The artist generated the slogan for this work with eco-critic and professor Timothy Morton.
An artist who sparked significant awareness regarding the issues of climate change was Olafur Eliasson. Eliasson’s main objective has been to catch people’s attention and make them feel emotions and care about climate change because many people do not connect to the effects of climate issues as they do with other controversial impacts solely because the effects are not played out directly in front of them.
Pink seesaws were installed along the United States/Mexico border. The project, created by two professors sought to unite both sides of the fence by creating an activity that required a participant on either side. The seesaws were installed so there is one seat in El Paso, Texas and one in Ciudad Juárez, Mexico with the border fence acting as the fulcrum.
The Violence Against Women (VAW) Art Map was conceptualized in the fall of 2018, in the wake of the #MeToo movement by Dr. Lauren Stetz, as part of her doctoral research in Art Education with a minor in Women's, Gender, & Sexuality Studies at Penn State University.
For the first time since its controversial installation in 1989, the I.M. Pei-designed Louvre Pyramid has been decorated in a museum-sanctioned act of anti-capitalist activism.
The Milk Truck is a combination of guerrilla theatre, activism and slapstick humour. When a woman finds herself in a situation where she is discouraged, harassed, or unwelcome to breastfeed her baby in public, she contacts The Milk Truck. The truck summons social media supporters and arrives to the location of the woman in need, providing her with a shelter for feeding her baby.
Occupy Wall Street's art offshoot, Occupy Museum, has a new initiative: deconstructing the commercial art fair model. They are calling this art fair antithesis the DebtFair. Last May at the Frieze Art Fair, Occupy Museum distributed flyers and protest literature for an Un-Frieze event.
Artist Michael Landy catalogued, inventoried, and systemically destroyed all of his possessions for the 2001 public installation Break Down, commissioned by British arts organization Artangel. It took him three years just to itemize the 7,227 objects included in the project.
The Dreamland Artist Club project was named after one of the famous amusement parks in Coney Island. The project consisted of more than 25 artists coming together to repaint rides and make custom signs, murals and scenic backdrops for the legendary neighborhood. Most of the artists that participated in this project were from New York City and therefore had a particular interest in the visual culture of the city.
Counterspace is an independent curatorial platform functioning as the first decolonial thinktank mapping cultural activism worldwide. It shapes collectively decolonial toolkits with common tools and resources, and a global directory browsable by continent, praxis, and social construct, as a Beuys-inspired ‘social sculpture’ revisited, and an alternative map of the universe.
While this protest draws quick and reactive attention and awareness to the issue at hand; it does fail to make clear the message that they intend to protest. The audience, which seems to be the general public, may focus on the scandal of the protest. The the vulgar display people as a bloody pieve of meat. Yet, these shocking images do draw the viewer to the cruel way animals are handled by the meat industry.
A young man melting into a puddle of himself is something you don’t see everyday, much less in a busy public square. Yet this humourous but surprisingly effective spectacle is the latest effort by the Red Cross of Argentina to raise awareness about climate change.
"As of October 2009, Retznei boasts a new centre. In the middle of the square the black contours of a concrete surface stand out, reminiscent of the shape of a pond. If you step on the Platform, you notice that the ground gives slightly and that it sways. Invisibly but noticeably, water reveals itself as a key component of this art work by Michael Kienzer. The water carries the Platform and us, while we are walking or standing on it.
The protagonism of the body in the dramatization of marginalized groups is also central to Emilio García Wehbi's Proyecto Filoctetes, an urban intervention staged November 15, 2002, on the streets of Buenos Aires. The project consisted in placing twenty-five lifelike latex mannequins in central, highly trafficked locations around the city in varying positions of injury, physical distress, and abandonment.
The project was based on the creation of a restaurant in the neighborhood of El Lewa, Cairo – one of the many neighborhoods built illegally, known as Ashguahiyats, a term meaning 'leaving things to chance'.
Creative Time, Social Practice Archive: In 2000 Heavy Trash, an anonymous arts organization of designers, architects, and urban planners, implemented its Aqua Line project throughout various parts of Los Angeles. The project involved the installation of false "Future Station Location" signs in the downtown area, notifying passersby of the impending construction of a subway that would connect the downtown to the Westside.
Jorge Rodríguez-Gerarda is a cuban Artist that was born in 1966. One of his projects was naed Expectations in which he did with sand and grave a massive image of Barack Obama, as a way to reflect all what this presidential candidate representated in terms of change.
"Eight-year-old Christian Bucks from Roundtown Elementary School noticed that some of his classmates did not have any friends to play with during recess.
His solution was to introduce a “Buddy Bench”, where lonely classmates could choose to sit if they wanted a playmate. If two children were seated there, they could ask each other if they wanted to play or talk.
The Milosevic regime ruled over Serbia and Yugoslavia for about 13 years. To maintain control, the Milosevic regime was infamous for arbitrary arrests, beatings, imprisonment and even murder of avid opponents.