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2019, newsletter
The connection between art and activism offers stigmatized sectors of society the possibility for creative, poetic and sensual political intervention. Going beyond traditional forms of activism and disobedience, artivism challenges our understandings of what art is in terms of its circulation, visibility and participation in the public sphere. To deal with the problems of artistic circulation, due above all to the racism of omission, artivism uses numerous languages and resources such as street art, video, music, performance, poetry, net art and intervention not only to represent reality, but to engage in transformations, mobilizing and inspiring the viewer.
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.
Rhetoric, Social Value and the Arts, Palgrave McMillan, 2017
GIS - Gesto, Imagem e Som, 2023
In a present described as one of crisis and uncertainty, different people and groups question themselves and seek answers about how to inhabit a world that is crumbling at the hands of extractivism, productivism, progress and consumerist dissatisfaction. Alternative horizons are proposed to this global necropolitics, where new encounters and ways of being-with-others can be established. And, in the meantime, art(ivism) is assumed as a concrete device “to postpone the end of the world,” for life and for other possible worlds. What idea of future stimulate artistic projects and performances, collective or in soliloquies? What new meanings in contemporary art practices connect people and worlds, create ecologies and environments for interventions, and formulate desires in the generation of new political communities? Like politics, art is a matter of life and death, but perhaps by opposing arguments. Can it change destiny as an aesthetic of confrontation?
Third Text, Critical Perspectives on Contemporary Art and Culture, 2013
In discussing various forms of struggles, three different types of injustices are highlighted and related to subjectivity and the arts. It is argued that in neoliberal societies these struggles and injustices have become intertwined to the degree that agentic socio-subjectivity is no longer experienced or conceptualized. Admitting that art embodies neo-liberal contradictions and often supports the status quo, the possibilities and limitations of aesthetics are reflected. Arts’ critical agenda of addressing power and resistance is portrayed through examples regarding economic-political injustices and injustices of representation, recognition, interaction, and subjectification in the visual and performing arts. Aesthetic conditions for the possibility of resistance in the arts are presented with the conclusion that street art may be a better candidate for challenging the status quo than traditional art. It is argued that aesthetics is an area of life that provides sources for fighting injustices.
2016
In this article I analyse the notion that social movement politics and contemporary art interventions increasingly traverse a porous boundary, be it in terms of practices, relations, or institutions. Premised on Nicolas Bourriaud's seminal reading of 1990s art, I contend that the theory of " relational aesthetics " (2002) offers a synthetic platform from which we can understand how artistic interventions with activist connotations are increasingly moving away from the utopian and prescriptive, and thus echoing the " subjective turn " of social movement politics more widely. Based on fieldwork with contemporary artists and social movement actors in Brazil, the chapter mobilises relational aesthetics as a criteria to differentiate various forms of contemporary art intervention. Through conversation with ethnographies of radical politics, I argue that an analysis that foregrounds ephemerality, the " absolute centrality of diversity " , and different forms of dissonance, allows us to productively theorise how subjectivity is elaborated and meaning created. If art really is the locus of " imminence " , then understanding how these processes are contested is to grasp how prefigurative politics can have consequences for the immediate future.
BBA-SEOULnewsletter, 2020
I object that art, artists, and the art world appropriates political issues in the name of political art. Political art came out from the modern era. Many artworks that represented political states at that time have been produced around the Industrial Revolution around the 19th century. From Dada and Surrealism, passing through the Russian avant-garde, to reaching Fluxus, the experimental art movement has continued to integrate life into art. Since the 1968 revolution, enormous art activism against the government and authorities have unfolded all over the world. At the time of the revolution, art was used for practicing and projecting our life as well as autonomous and resisting action on the edge of our life. Nowadays, by the way, who is walking on the edge of life? What is the reason for a contemporary artist who takes a back seat as an observer of history, and reminisces the outdated revolution era, and uses other’s pain, leaving activists at the front seat? I think we need to change the current inflexible protest culture and let us recover autonomy for expressing multiplicity. Being frightened and fearful of citizenship can be recovered by practicing art-activism. We can bring back our sense of autonomy by practicing and planning creative actions. Resistant art activism and practice which is calling for changing our sense and emotion can regain a wide-opened thinking spectrum and sense of human nature. Under the name of maintenance of order, there are methods to restrict the possibility of thinking and perception here and there. Restraining protest and hauling protesters in police stations accompany ideological, physical, and physiological discouragement, and inciting cowered fearful minds. Every single participant with bare hands against violence in protest has fallen into a feeling of pressure and helplessness, and they constantly feel guilty and bring self-censorship as they are doing illegal behavior. Therefore, generally, the act that crushes individuals’ autonomy and makes them terrified has a complete effect on restraining the subjective will of individuals and their free thought. The examples of activism that I mentioned above are concrete results from individuals who shared social issues through solidarity and community activity and developed their tactics and strategy. To ease and release burden feeling and nervousness, and recover subjectivity and autonomy, people need resistant art activism. Art guarantees powerful influences to go beyond the boundary of law using artistic sense, skill, and cultural context.
Organic Geochemistry, 2024
El man. higienico de los alim. acorde con la nom 251, 2010
Acta semiotica, 2021
Cronica Cercetărilor Arheologice din România, 2024
Revue du Nord, t. 98, n° 418, 2016
MIX Sustentável, 2016
BMC Pediatrics, 2022
Revista Brasileira de …, 2009
Indian Journal of Chemistry -Section A (IJCA), 2020
Mukt Shabd Journal Volume XIII, Issue X, OCTOBER/2024 ISSN NO : 2347-3150, 2024
Jurnal Konversi Energi dan Manufaktur, 2023
Veterinary Archives
Science and Technology Development Journal, 2011