The Beehive Design Collective is a wildly motivated, all-volunteer, activist arts collective dedicated to “cross-pollinating the grassroots” by creating collaborative, anti-copyright images for use as educational and organizing tools. We work as word-to-image translators of complex global stories, shared with us through conversations with affected communities.
Fashion designer and social scientist, Lucia Cuba, has taken up the task of using fashion as a vehicle to bring attention and awareness around Articulo 6, an article in the Peruvian constitution that declared a law of forced sterilization of women in the country. Cuba has taken the testimonies of the victims of this article and integrated them into the very fabric of her designs.
In the 1970s, Jaime Lerner, the former mayor of Curitiba, Brazil, transformed six blocks of the main downtown shopping street into a pedestrian zone in 1972, despite fierce objections from the merchants. He quickly accomplished this change in just three days by installing paving, lighting, planters, and furniture. The once-resistant merchants were impressed by the increase in their business and soon demanded an expansion of the traffic-free district.
Spanish organization the ANAR Foundation (Aid to Children and Adolescents at Risk) releases a campaign that takes advantage of the process of lenticular printing to send an offer of help to abused children without alerting their abusers, even if they’re walking together.
Lenticular printing is a process that allows for different photos to be seen depending on the angle the image is viewed from.
The work of a radical theater and puppetry collective, known as Papel Machete, produces and performs throughout Puerto Rico and the United States. Papel Machete was established on May 1, 2006 during protests responding to the government shutdown and political and economic crisis prompted by Puerto Rico’s status as a United States colony.
To mark the 200th anniversary of Karl Marx, PL Henderson offers an appreciation of one of Frida Kahlo’s greatest paintings, which was heavily influenced by Marx's creative thinking.
A Colombian college student created this idea to improve Bogotas citizens experience when using the public transportation. According to one scientific study, the worst problem Bogota citizens had to deal within the public space was public transportation; this problem represented the principal cause of high percentages of stress and anger among citizens.
Vegan-friendly cosmetics brand LUSH is launching the “Shark Attack” campaign to save sharks from slaughter on World Oceans Day (June 8). Starting today, LUSH will re-launch its popular vegan Shark Fin Soap online (available in-store starting June 8) and donate 100 percent of the $5.95 sales price to The Rob Stewart Sharkwater Foundation, an organization created to continue the work of late ocean conservationist and filmmaker Rob Stewart.
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.
El Sistema, also known as The National System of Youth and Children’s Orchestra and Choir, was established in Venezuela in 1975 by José Antonio Abreu, a Venezuelan educator, musician and activist. The music education program operates within the voluntary sector and is funded publicly.
The "I'm Not A Joke" campaign from Daniel Arzola is a series of images inscribed with compelling truths about human diversity that encourages individuals to live as their authentic selves. He wants the images to eventually appear on buses and subways, exposing audiences to the realities of queer experiences in an attempt to break down prejudice in a form of activism that he calls "Artivism."
When the last detention facility in Guantanamo Bay was officially decommissioned in 2010, an international team of artists, curators and architects began planning and designing a museum that would take the place of the detention facility - a little less than two years later, their work became reality.
Doris Salcedo talked extensively with victims of the violence in Colombia. For the project titled Unland she spoke specifically with children who had witnessed the murder of their parents. This piece was a poetic response and representation of their testimony. Salcedo combined halves of tables together to make a whole. In the seam where the tables joined Salcedo meticulously sewed the tables together using white silk thread, dark hair and bone.
This project consisted of an articulation between research, public policy and art. Corpovisionarios por Colombia was implementing a social change initiative in one of the poorest and most violents neighborhoods in Cali, Colombia. The demographic information showed that the most implicated population in the violence and murder cases were young men. They informed their masculinity through ideas of territory and its violent protection.
Renowned Cuban artist Tania Bruguera surprised a Bogota audience in September when she lined up three people directly involved in the Colombian conflict for a chat. The real performance however, started when a waitress emerged with a tray of neatly organised lines of cocaine, and began offering them to members of the audience.
More than 20 years ago, a psychology student doing his training at one of Argentina's oldest psychiatric wards kept being asked by his family and friends what it was like to work in there. So he came up with an idea: to let the patients explain in their own words.
The first radio station to broadcast from inside a mental hospital was born.
Born as a side project Las hijas de Violencia approaches the subject of street harassment and gender based violence through performance art, punk and video that is addressing socially legitimized male violence. "As actresses and as women we feel directly affected and consider it urgent to address the real cause of the problem: its ideological nature.
"The walls of the streets of downtown Santiago are covered with stickers, art, words and posters.
The messages are varied and range from "Feminist power" to "All cops are bastards". They have taken over the walls of Zona Cero (Ground Zero), the name given to the area around Plaza de la Dignidad, where anti-government protests have been held - and at times brutally repressed by police - since 18 October.
Aníbal López, also known by his government identification number A-153167, is a pioneer of performance art in Central America. ArtBus describes his work as, "Generally aimed at immersing viewers into the region’s social and political tensions, his works combine the dry language of 1960/1970s conceptual art with the revolutionary ethos of a Latin American guerrillero.
Daniel Arzola, a digital artist and activist originally from Maracay, Venezuela, began his series, 'No Soy Tu Chiste' ('I Am Not A Joke') in 2013 intent on combating the stereotypes and cruelty so often facing LGBT identifiers; youth in particular. The project went viral in 2014, around the same time it teamed up with the It Gets Better Project based in the United States.
As part of USAID's "My Comunidad-Mi Agua" program in Peru, "Pamparadio" was a radio show run by two adolescents from the community of Iquitos, a jungle province. Armed with a gigantic speaker on the top of a community center and an AM radio frequency, Marco Jhastin Anchec and Cledy del Aguila Mozombite single-handedly ran "Pamparadio" as a celebration of potable water, how to make it, and how to take care of it.
ARTS/CULTURE
FOKAL is the hub in Haiti where locals and international visitors from all walks of life -- artists, writers, citizens, activists-- come together to discuss the most pressing nation- and community-building issues, enjoy cutting edge artistic expressions, and share their ideas.
El Antimuseo es un proyecto curatorial que questiona los mecanismos de legitimación del arte. El grupo considera su trabajo " el proceso social donde se produce el valor simbólico y económico de la obra de arte, así como en el análisis de la estructura y límites de la institución."
En las palabras de ANTIMUSEO: