A Space For Negotiation: Art and Activism (original) (raw)
Related papers
2021
Art is aesthetically pleasing to human's eyes, touching each heart, and interpreting by own understanding. Because art is usually for aesthetics, other artworks are not recognized as a change or as meaning for everyone. Art mirrors each image of society, art is for everyone, not just painting, but all kinds of art. And all artists have a responsibility in inspiring and waking people up on what is happening to the world. All artists should be activists. Art and Activism become Artivism. Making art or doing art to protest about rights and contributes to oppressed to be free. Spreading your art to be heard and to fight about political issues. This paper study explored and described Art and Activism, Artivism, through researching studies about Activism and Artivism. The researcher chose this topic because she conducted a research about Artivism a few years ago and wanted to see the changes happen after three years. Artivism as a practice for nonviolence protests.
INTRODUCTION TO THE ART OF ACTIVISM AND THE ACTIVISM OF ART
THE ART OF ACTIVISM AND THE ACTIVISM OF ART GREGORY SHOLETTE, 2022
* This is the introductory chapter to THE ART OF ACTIVISM AND THE ACTIVISM OF ART (Lund Humphries, UK, 2022) * Since the global financial crash of 2008, artists have become increasingly engaged in a wide range of cultural activism targeted against capitalism, political authoritarianism, colonial legacies, gentrification, but also in opposition to their own exploitation. They have also absorbed and reflected forms of protest within their art practice itself. The Art of Activism and the Activism of Art maps, critiques, celebrates and historicises activist art, exploring its current urgency alongside the processes which have given rise to it. Gregory Sholette approaches his subject from the dual perspective of commentator (as scholar and writer) and insider (as activist artist), in order to propose that the narrowing gap separating forms of activist art from an aesthetics of protest is part of a broader paradigm shift constituted by the multiplying crises within contemporary capitalism and democratic governance across the globe.
We Were Here, and We Still Are: Negotiations of Political Space Through Unsanctioned Art
Pluralistic Struggles in Gender, Sexuality and Coloniality
In this chapter, we examine the work of the Sámi artist Anders Sunna and the Egyptian artist Bahia Shebab in order to address strategies of artistic criticism of the relations between states and their citizens. Both artists are protesting against contemporary processes relating to space, state and nation, and they express themselves in ways that are embedded in the aesthetics of unsanctioned street art. This expression constitutes an interesting form of politics, situated somewhere in-between, or alongside, party politics and the practices of civil society. Our aim is to describe and discuss what we see as specifically effective and dynamic themes in the chosen artwork—the use of space as object and methodology, and the production of iconic imageries within fantasies of protest. The stencils and spray paintings of Shehab and Sunna offer us keys to exploring efforts to artistically reveal and dismantle national and neocolonial power.
Introduction: Contemporary Arts Across Political Divides: Difficult Conversations
2023
This volume presents an extensive array of examples drawn from diverse disciplines and regions worldwide. These examples share a common thread of interest in fostering participation, agonism, and the potential for "possibilizing" – the concept of fostering equitable interactions that facilitate the creation of complex imaginaries and the envisagement of agonistic coexistence through artistic processes, dissemination, and observation. The discourse within centers on the dialogical attributes of art, prioritizing them over the establishment of a predetermined aesthetic-political praxis. Contributors to this volume encompass a spectrum of roles, including social activists, museum professionals, art historians, and practitioners of collaborative art. Their collective objective revolves around outlining strategies for engaging with art within regions marked by pronounced political divisions. Timely inquiries are posed concerning the capacity of art to orchestrate challenging conversations, establish connections, and devise methodologies conducive to urgent political retorts. Can contemporary art effectively transcend political schisms and progress toward fostering democratic social interaction, openness, and contingency? How might artists contribute to the comprehension of agonistic encounters within urban public spaces? Amidst the escalating influence of regressive forces such as nationalism, racism, and misogyny worldwide, can artworks reciprocate and counterbalance these trends? As the self-contained realm of art steadily diminishes, artists face the task of crafting new frameworks that enable the articulation of a political aesthetic through democratic dialogue. This collective book delves into the potential for artists to recontextualize their work, thereby establishing platforms wherein a political aesthetic can flourish and contribute to democratic discourse.