#art_et_politique

A Paper Monument for the Paperless

https://www.himmelsbach.nl/wp-content/uploads/2017/05/17-05-29-Paper-monument-at-popposisions-Himmelsbach-scaled.jpg

Wanted: street artists, activists, civil-disobedient and cheerful wheat pasters for the raise of “A Paper Monument for the Paperless”.

A Paper Monument for the Paperless’ is a monument in the making, which should generate more visibility and attention to undocumented refugees. Anyone can make a contribution by requesting an A2 size poster set (in the form of a newspaper with 31 woodcut portraits of these refugees, made by a diverse group of artists and illustrators) and pasting them around or offering them to their local politicians.

We worked with “We Are Here” which is a group comprising refugees living in Amsterdam. Due to neither being entitled to social housing nor allowed to work, its members are often forced to live on the street. The group decided to make visible the inhumane situation in which they live, no longer hiding, but showing the situation of refugees that are ‘out of procedure’ in The Netherlands. Thanks to the collective power of the refugees and the help of many supporters, the group exists since 2012. (Source: ▻http://wijzijnhier.org)

If you have information about potential co-distributors, poster posters, or other interested parties, please inform them by sharing this call.

A paper monument for the Paperless
Together with a group of 19 artists, I initiated A Paper Monument For the Paperless, a series of 60 engraved in wood portraits of paperless migrants. Made for the purpose of printing in large quantities and pasting them up through the city streets. The project literally gives a face to undocumented refugees.

Undocumented migrants are seen as invaders, they are locked up in prisons and their individuality is stripped away. The portraits in their files are fleeting snapshots which are systematically, almost industrially taken. This paper monument does the opposite and gives warmth and time to the portrait. An artist’s hand, charcoal sketches and heavy engraving work oppose the chilly bureaucratic procedures. The paper monument portraits are spread through the city streets of Europe and beyond, so that passers-by are daily reminded of this group of people who live in anonymity.

The project mobilizes the street as its medium to critically explore freedom of movement and its curtailment. To activate its presence in public space, the project relies heavily on the engagement of citizens. They are stimulated to spread the posters through the city streets of Europe and beyond. The performative body, therefore, plays a crucial role in this work. The (illegal) distribution and pasting of the posters places the body in a vulnerable and at the same time activist position. It performs acts that are punishable, hoping to bring about social change and standing together with socially excluded communities. In this sense, it is a performance of civil disobedience.

As the initiator of this project, I gathered a group of 19 artists who made portraits in wood engravings. In terms of technique, I consciously chose for wood engraving because of the style unity and the rich social history. Wood engraving was already used at the beginning of the last century; from expressionism to political pamphlets. Figureheads Frans Masereel to Käthe Kollwitz made images in wood engraving to inspire people to start social change and to make invisible stories and realities visible.

‘A paper monument’ has the ambition to emerge from its temporary street context. In addition, there is a need for the story of the paperless to be included in our collective memory. That is why I am taking a new step in the development of the project: The search for institutional cooperation with ‘A paper monument’, by printing the woodcuts, in a limited edition, and offering them to public art collections.

In this way, this project grows from the underground situation with a lot of visibility on the streets to a paper ambassador who continues to tell her story as a ‘conversational piece’ within museums, archives and other collections of cultural heritage (check here the limited edition project page).

Realised with the help of artists and makers:
Maria Vera Alvarez, Chiel te Bokkel, Maurice van Daalen, Loes Degener, Joost Eijkholt, Cathelijn van Goor, Elisa Grasso, Heleen van der Hoogt, Jeffry Koopman, Janneke Kragt, Annika Lelivelt, Prosper de Roos, Mariska Schomper, Rutger van der Tas, Fabiola Veerman, Vera Verseput, Jurga Zelvyte, Judith Zwaan

▻https://www.himmelsbach.nl/portfolio-view/a-paper-monument-for-the-paperless
#art_et_politique #art #papiers #sans-papiers #monument #migrations #street-art #art_de_rue #portraits

ping @karine4 @cede @reka

La #colère pour s’affirmer ?
▻https://www.youtube.com/watch?v=edN_QLbJrYU

La colère est un sentiment que l’on attribue plus volontiers aux hommes. Chez les femmes, elle passe souvent pour de l’#hystérie, un manque de sang-froid ou la marque d’une #personnalité_difficile. Pourtant, elles auraient tellement de raisons de se fâcher : domination, discrimination, injustice, etc. « Twist » rencontre des artistes qui transforment leur colère en #énergie_créatrice.

Égérie des #Femen, l’activiste ukrainienne #Inna_Shevchenko a trouvé en Paris une terre d’accueil il y a dix ans. Au péril de sa vie, elle lutte pour les droits des femmes et la liberté d’expression, bravant les condamnations et les persécutions. Dans son nouveau livre, elle donne une voix aux femmes ukrainiennes.

#Tara-Louise_Wittwer, autrice et productrice de vidéos, combat le machisme à grand renfort d’humour. La Berlinoise compte des centaines de milliers de followers sur TikTok.

Celles qui expriment publiquement leur colère doivent s’attendre à des réactions virulentes. Le collectif de tagueuses LGBTQI #PMS_Ultras en sait quelque chose. Armées de bombes de peinture, ces activistes s’approprient le paysage urbain berlinois et défendent les minorités contre le patriarcat et les idées d’extrême droite.

L’artiste #Joséphine_Sagna lutte contre le stéréotype de la « femme noire agressive » avec des œuvres aussi colorées qu’expressives. La Germano-Sénégalaise dénonce le racisme quotidien et les préjugés à travers son art.

Originaire de Hambourg, la rappeuse #Finna est membre du collectif hip-hop #Fe*Male_Treasure. Celle qui se décrit comme une « mère queer translesbienne body-positive » a la rage au ventre. C’est là qu’elle puise la force de hurler ses textes politiques en public.

#rage #femmes #féminisme #colère_féminine #art #art_et_politique #solidarité #vidéo #female_rage #misogynie #ironie #sarcasme #espace_public #art_de_rue #street-art #rage_féministe

A human being is more delicate than a flower and tougher than a rock

RADA AKBAR:

https://www.hrw.org/sites/default/files/media_2024/11/202409asia_afghanistan_Infinite%20Power%20No2_by_Rada%20Akbar.jpg https://www.hrw.org/sites/default/files/media_2024/11/202409asia_afghanistan_Infinite%20Power%20No%2005_by_Rada%20Akbar.jpg

FATIMA WOJOHAT:

https://www.hrw.org/sites/default/files/media_2024/11/202409asia_afghanistan_playing_a_weapon_by_fatima%20wojohat.jpg https://www.hrw.org/sites/default/files/media_2024/09/202409asia_afghanistan_dreams_born_in_darkness_by_fatima%20wojohat.jpg

This famous Afghan saying eloquently expresses a duality in human nature—our remarkable resilience in facing adversity, yet our vulnerability to spiritual and emotional wounds. It speaks to the strength we find in survival and the pain we endure in the process.

I often heard this saying growing up, especially from my mother and the women in my family, whose lives truly reflected its meaning. Years of relentless war have taught every family the harsh realities of loss, displacement, fleeing from one conflict to another, forced to start from scratch, sometimes repeatedly. When the Taliban took over Afghanistan in August 2021, many Afghans had to flee, leaving behind homes, loved ones, dreams, and sometimes even their identities. Packing one’s boxes—putting dreams, hopes, and struggles in boxes smaller than before—requires immense resilience.

For artists who had to flee, these losses expanded to include their art, incomplete art pieces, and even their ideas.

Since the Taliban takeover, Afghan women have organized civic resistance. They have taught us creative ways to resist. Despite the egregious new laws and policies sexualizing and objectifying women’s voices, women continue to sing and recite poetry, both inside the country and throughout the diaspora.

Women artists, much like the women protesters who marched with the slogan “bread, work, freedom,” play a vital role in shaping this grassroots movement. As we mark the 16 Days of Activism against Gender-based Violence, an annual global campaign ending on December 10, Human Rights Day, we honor Afghan women artists in exile who protest through their work, who voice their beliefs through the art they create with patience, creativity, and passion.

Today, we are featuring #Rada_Akbar, a conceptual artist, and #Fatima_Wojohat, who creates art with chalk and digitally. Both artists, who create despite being uprooted from their homeland, have messages of hope for girls and women inside Afghanistan, whose lives may feel cut off from art and the creative world.

▻https://www.hrw.org/feature/2024/12/11/human-being-more-delicate-flower-and-tougher-rock

#afghanistan #femmes #art #art_et_politique #femmes_afghanes #dessins

ping @reka

« Les Syriens ont des craintes, mais sont heureux pour la première fois depuis des décennies »

De la Syrie nous n’avons trop souvent que des images éparses. Celles d’un régime sanguinaire en place pendant cinq décennies, qui fut longtemps un partenaire privilégié de la France ; les images des révolutions populaires de 2011 réprimées dans le sang par l’ancien pouvoir ; la destruction des plus grandes villes du pays sous les bombes de #Bachar_al-Assad et des Russes ; les images des djihadistes de l’État islamique, ceux qui ont fomenté des attentats en France depuis la ville de Raqqa, dont le groupe terroriste avait fait sa capitale.

Depuis une semaine, nous voyons désormais d’autres clichés, ceux d’un peuple en joie d’avoir renversé le tyran. Mais aussi les portraits des nouveaux maîtres de la Syrie, biberonnés au djihadisme, et dont nous ne savons pas quoi penser.

Et puis il y a des images manquantes, celles de ces dizaines ou centaines de milliers de fantômes, des opposant·es, des artistes, des intellectuel·les ou des manifestant·es, embastillé·es et disparu·es : des noms sur des registres, dont les familles recherchent aujourd’hui les traces dans les sous-sols des prisons du régime.

Qui sont les nouveaux maîtres de la Syrie ? Quel peut être l’avenir du pays dans un Moyen-Orient en plein bouleversement ? Les Syriennes et les Syriens dont les proches ont été tué·es ou torturé·es par le régime connaîtront-ils un jour la vérité ? Obtiendront-ils justice ?

Nos invité·es :

- Sana Yazigi, créatrice du site Mémoire créative de la révolution syrienne (►https://creativememory.org), autrice de Chroniques de la révolte syrienne : des lieux et des hommes, 2011-2015 (Presses de l’Ifpo) : ►https://www.ifporient.org/978-2-35159-746-0 ;
- Hanane et Obeida Dabbagh, proches de disparus syriens, qui ont obtenu la condamnation à perpétuité de trois officiels de l’ex régime syrien pour complicité de crimes contre l’humanité, en mai 2024 ;
- Ziad Majed, politiste, enseignant à l’université américaine de Paris, auteur de Syrie, la révolution orpheline et coauteur de Dans la tête de Bachar al-Assad (éditions Actes Sud) : ▻https://www.actes-sud.fr/dans-la-tete-de-bachar-al-assad ;
– Gilles Dorronsoro, chercheur au Centre européen de sociologie et de science politique, coauteur de Syrie. Anatomie d’une guerre civile (éditions du CNRS) : ►https://www.cnrseditions.fr/catalogue/relations-internationales/syrie

▻https://www.youtube.com/watch?v=NWXnsQRUtyo

Gaddafi in Rome : Notes for a Film

https://pixelfed.zoo-logique.org/storage/m/_v2/578583396227231930/0bb057b62-db9a0d/0i8CSDN9DBy5/1Et9GVzwuzQ7dUqnguXE0FhLoU13YkqTKMtz6p8u.png

“Alessandra Ferrini is an artist, researcher and educator whose artistic practice is based on a historiographical and archival form of investigation in which she resignifies the history of Italy in relation to the phenomenon of colonialism. Gaddafi in Rome: Notes for a Film is the result of six years of research into the Libyan leader’s visit to Italy in 2009. The video installation presents three acts, with images and news produced in real time during Gaddafi’s visit, together with archive materials collected and manipulated by the artist. At the heart of the work is a photograph of the meeting with Silvio Berlusconi at Ciampino airport and the protests sparked by Gaddafi’s choice to display an image on his chest, showing the capture of Omar al-Mukhtar (1858-1931), the leader of the fight against the Italian occupation of Libya. The images are accompanied by the voice of the artist, who extrapolates the facts from the context of mass communication and reflects on the diplomatic and power relations at play, highlighting the relationship between the Treaty of Friendship, Partnership and Cooperation between Italy and Libya, and the manipulation of the colonial past by the two leaders. Ferrini’s analytical approach to deconstructing the media vision of an event that marked the beginning of new European policies on immigration can be seen in a number of elements of the installation:a curtain that recalls the anatomical theatre in Padua, a picture of Berlusconi and Gaddafi holding a photo of the Libyan coast, printed on plexiglass and a cloth on an oval table with a photo that was shown in the Green Square in Tripoli in 2011.”

▻https://www.alessandraferrini.info/gaddafi-in-rome-notes-for-a-film
#Alessandra_Ferrini
#Italie #Italie_coloniale #colonialisme #art #art_et_politique #vidéo #Alessandra_Ferrini #Libye #trattato_d'amicizia #traité #amitié

–-

ajouté à la métaliste sur le colonialisme italien :
►https://seenthis.net/messages/871953

Forensic Architecture’s investigations are both art and evidence

https://pixelfed.zoo-logique.org/storage/m/_v2/578583396227231930/3781ba7d4-1bb9dc/g6cczvAbxj2U/HsxFkFRHc58NDEWiuK3piI1gdIru1yKzTBU2duJf.png

There is barely a whisper during the premiere of the film Situated Testimonies of Grenfell at the Royal College of Art in London. Nobody even glances at a phone; we are immersed in that terrible night in 2017 when fire ripped through Grenfell Tower in west London, killing 72 people.

Including recordings of emergency calls, accounts of residents’ pre-existing safety concerns and social-media footage of the blaze, the film also reveals the process of its own construction as we see architectural software developers sit with survivors and eyewitnesses, while software experts recreate the building and its destruction using 3D modelling. Meticulous and detached yet filled with emotion, the film is a chilling, unequivocal condemnation of the multi-agency failures that led to the tragedy.

The film is also a form of evidence. Created by multidisciplinary research agency Forensic Architecture, in collaboration with members of the Grenfell community, Situated Testimonies of Grenfell was prepared for a civil claim against private companies, local and government agencies and the London fire brigade.

From Banksy’s refugee-friendly actions to the exposés of Ai Weiwei, numerous creative practitioners narrow the gap between art and life. But few walk that tightrope with more purposeful precision or powerful effect than Forensic Architecture. Founded by the British-Israeli architect Eyal Weizman in 2010, the collective’s members include architects, lawyers, scientists, software developers and “aesthetic practitioners” such as artists and curators. Based at Goldsmiths, University of London, where Weizman teaches, the collective’s reports, which investigate alleged acts of violence by state or corporate agencies, have stretched from Myanmar to the US.

Its varied skillsets — from detailed analysis of a photograph or footage to the reconstruction of a bullet’s trajectory — help them to expose falsehoods and lacunae in official narratives. Its recent report, Inhumane Zones, into alleged human rights violations in Gaza, is being used by South Africa in its case against Israel at the International Court of Justice.

But their work operates as art as well as evidence: the agency has also been shortlisted for the Turner prize. Shown at Tate Britain, their Turner installation centred on a film about the shooting of a Bedouin villager, Yaqub Musa Abu alQu’ian, and a policeman, Erez Levi, by Israeli police. Another film, The Killing of Mark Duggan, was central to War Inna Babylon: The Community’s Struggle for Truths and Rights, an exhibition about Black activism and resistance at the ICA in London in 2021.

“There’s a parallel between forensics and curating,” Weizman says as we sit down in a light-filled studio at Goldsmiths. “You need to proceed with an argument using images, and sometimes objects, and you need to tell a story that is convincing and coherent.”

Although Weizman studied at the Architectural Association in London, his awareness that architecture had its own politics was seeded in his Israeli youth. Born in Haifa in 1970, Weizman grew up alongside Palestinian people. He has fond memories of Haifa: “It was so fabulous . . . with the mountains [and] the sea on all sides.” But he also observed an “architecture of colonisation”: Israeli neighbourhoods occupied the city’s heights while Palestinians were “contained” in the valley. Returning after his studies, he focused on how architecture was employed to reinforce Israeli domination, particularly in the Occupied Territories.

His work has always raised hackles. In 2002, the Israeli Association of United Architects cancelled an exhibition that it had commissioned from Weizman and his fellow architect Rafi Segal for the Berlin Congress of Architecture about settlement construction. Entitled A Civilian Occupation: The Politics of Israeli Architecture, it was described by the commissioners as “one-sided political propaganda”. However Esther Zandberg, the architecture critic of Israeli newspaper Haaretz, defended the show and its catalogue as a “rare work in its power and importance”.

The cancellation triggered international media attention — “The New York Times reported on it and made a big fuss, so everybody wanted to see what was censored,” Weizman says — and a new series of shows evolved, entitled Territories, which preceded the foundation of Forensic Architecture.

By now, Weizman was “thinking very hard about presenting evidence in public spaces”. Yet he was surprised to find himself adopting forensics — or counter-forensics, as he sometimes dubs it — as a tactic. “If someone had told me I would end up running a forensic agency 20 years ago . . . I would have been appalled.” he says. But there was also, as he puts it, “a battle about truth”.

He pauses. “The way I experienced colonialism is that it’s a violence against people but it’s also a violence against truth. Against the truth that those things have happened.” The decision to create Forensic Architecture was a bid to “work collaboratively and in a multidisciplinary way” and “take forensics out of the court and into the public domain of art and media”.

https://pixelfed.zoo-logique.org/storage/m/_v2/578583396227231930/3781ba7d4-1bb9dc/pjbfbjmYWsqT/CyItJnZCLnKcVOHcaKcxJkiilju6L72Njo4iEBX8.png https://pixelfed.zoo-logique.org/storage/m/_v2/578583396227231930/3781ba7d4-1bb9dc/31dm1Wca438X/l3pJJT2e43NoYTiIbGIJCgTejbbVWso3vz95FQa2.png

Today, Forensic Architecture numbers a core team of 26 plus a further 13 research fellows. Their funding comes from donors and organisations, such as the Sigrid Rausing Trust, and income from commissions and exhibitions. They are no strangers to challenge. At the Whitney Biennial 2019, their film Triple-Chaser investigated a tear-gas grenade manufactured by a group owned by Whitney Museum vice-chair Warren Kanders, who had become an object of protest since the group’s tear gas was fired at civilians by US border guards. Triple-Chaser intensified the pressure on Kanders to resign, which he did.

Weizman embraces the friction. Forensic’s work, he says, “should sit uneasy within an art institution . . . [Museums] want political credibility. They invite us and then they are surprised when our art becomes political!”

In legal settings, they work to “transform what can be presented as evidence”. Weizman takes a breath. “The law is very conservative. It took a few decades before photography was considered reliable evidence. Now it’s the same with open-source evidence [such as that] captured on Twitter and YouTube. You need to claim other ways of seeing; other ways of telling.”

The scrupulous remapping within a report such as Inhumane Zones, which compares Israeli plans for safe zones and humanitarian aid in Gaza with UN satellite imagery, media footage and witness testimony, exemplifies Weizman’s observation that his team’s job is to “interpret weak signals”, perhaps no more than “a few pixels in an image, a faint trace, on a tree, on the ground marked in the concrete”. In a world where truth is so contested, that skill has never been more valuable.

▻https://www.ft.com/content/39a9a6b5-74da-48c2-a9b4-f7183bf8bd0a
#art #art_et_politique #architecture_forensique #preuve #Eyal_Weizman #Grenfell #esthétique #vérité #violence #colonialisme

#Sight_Unseen
►https://vimeo.com/320820227

#Omar_al-Mukhtar (1885-1931) was the leader of the resistance against the Italian colonisation of Libya (1911-1943). He became the symbol of the Libyan people’s resilience, but in Italy, he remains unknown. Sight Unseen explores the concealment and appropriation around the memory and documentation of Mukhtar’s final days and spectacularised state killing through the analysis of visual and material culture that has been subject to either manipulation or obfuscation in Italy. At its core is the most complete - but legally unpublishable - series of images of Mukhtar’s capture and execution, which historian Alessandro Volterra describes and shows to the camera. Conveying the concealment and marginalisation of these images (and legal ban), they are never fully revealed: barely discernible, they are faded to black, blurred, shown for just an instant. Interwoven to this material, are other references that attest to the carefully orchestrated politics of visibility and invisibility that shape the memory of colonial violence in Italy: Mukhtar’s contested glasses; the movie Lion of the Desert; extracts from Mukhtar’s trial; and Monumento al Carabiniere, a 1933 memorial to the Italian armed forces in Turin.

▻https://www.alessandraferrini.info/sight-unseen
#Italie #Italie_coloniale #colonialisme #art #art_et_politique #vidéo #Alessandra_Ferrini #Libye

–-

ajouté à la métaliste sur le colonialisme italien :
►https://seenthis.net/messages/871953

ping @cede

#26x34

Les consignes : Le ton sera joyeux, optimiste et le format 24x36.
Les images « négatives ou agressives » seront refusées.
Il serait formidable d’illustrer les mesures du programme.

https://24x36.art/affiches/HD_41.jpg https://24x36.art/affiches/HD_102.jpg https://24x36.art/affiches/HD_68.jpg

Presenti mai assenti. Camminata sonora e opera d’immersione sulle rotte migranti
▻https://onborders.altervista.org/presenti-mai-assenti-camminata-sonora-e-opera-dimmersione-sull

di Simona Sala e Valentina Bosio Installazione sonora e field recordings BANDITE. Sound editor Giuseppe Giordano. Canti: Marjan Vahdat, Selda Özturk. Poesie: Rahma Nur da Il grido e il sussurro, Capovolte editrice. Con SENTIERI SOLIDALI e ONBORDERS È un’opera pensata per la commemorazione del 6 febbraio dei morti nel deserto, in mare, sulle nostre montagne […] L’articolo Presenti mai assenti. Camminata sonora e opera d’immersione sulle rotte migranti proviene da ON BORDERS.

#LINGUAGGI_VISUALI

La Ronde des hirondelles

https://pixelfed.zoo-logique.org/storage/m/_v2/578583396227231930/062ac74bd-fb82c6/mMWaBC7DukGA/D8GUMuL0nxunsv74I6YKqT845g76INjKxvYLEytm.png

La Ronde des hirondelles dépeint le quotidien d’hommes exilés au cœur des Hautes-Alpes. Ils y sont dans un état latent — après des semaines de longues marches. L’interaction avec le paysage, l’immersion et la contemplation ont rythmé ces temps. La #marche est ici perçue comme un exutoire, un état réflexif ; une échappatoire au quotidien parfois morose.

La #tapisserie que Florence souhaite réaliser a pour ambition de symboliser les voyages de ceux qui ont été contraints de fuir. Confectionné dans le style des tapis Azilal de la région du Tadla-Azilal dans le Haut Atlas, cette pièce décrit les chemins empruntés par les exilés sous la forme de lignes vives, dynamiques et colorées. Chaque tapisserie berbère a une signification profonde et multiforme, englobant des croyances, rituels et modes de pensée intrinsèques à cette culture. La tisserande incorpore son propre choix de motifs, inspirés par la résonance émotionnelle des histoires d’exil du peuple nomade Azilal.

L’artiste installe son atelier dans les locaux du CADA afin de le rendre accessible à toustes. Il accueille des séances de portrait au cyanotype. Des séances de prise de parole et des ateliers d’écriture se tiennent également à cet endroit.

L’objectif central est de faciliter le processus de reconstruction de la confiance en soi et de réévaluation de la perception de soi pour les personnes en situation d’exil. Ce projet vise à donner aux individus les moyens de se réapproprier leur corps, leur histoire et leur identité et de leur rendre leur droit à l’image.

▻https://www.ateliersmedicis.fr/le-reseau/projet/la-ronde-des-hirondelles-31761
#photographie #Hautes-Alpes #migrations #errance #montagne #Florence_Cuschieri #Gap #art #art_et_politique
via @karine4

(Corre Forte) La Locomotiva
▻https://www.antiwarsongs.org/canzone.php?id=67669&lang=it

(2016) Feat. Luca Zulù Persico

Ispirato a La Locomotiva di Guccini, un gran pezzo rap dedicato...

THE #ABC OF RACIST EUROPE

The project consist on a children’s book and wall display installation that goes trough the alphabet creating an anti-racist narrative.

The book addresses the connection between the migratory control system, colonialism and coloniality, while reinterpreting diverse words. The publication also narrates various struggles and resistances against racism.

https://pixelfed.zoo-logique.org/storage/m/_v2/578583396227231930/bc40e5d2a-3c51e6/Q9AmVKAKRnVe/EY9cuuRVeEhzRnHEdCH3dUaDkIapdpBPUNwrm9pJ.png https://pixelfed.zoo-logique.org/storage/m/_v2/578583396227231930/bc40e5d2a-3c51e6/EnP55IkMF0MW/rwGxr2c2DDvAeMpjnZhKcYFK2nhy2KwvSSnCIk2l.png

▻https://www.daniela-ortiz.com/en/copia-de-la-rebeli%C3%B3n-de-las-ra%C3%ADces

#vocabulaire #mots #racisme #Europe #art_et_politique #alphabet #terminologie #narrative_anti-raciste #migrations #colonialisme #colonialité #résistance #Daniela_Ortiz #frontières

ping @isskein @karine4

@cede : tu peux me rappeler l’exemple que tu nous avais montré de l’alphabet raciste dans une école à Bâle ?

Prijelaz / #The_Passage — dedicated to our fallen comrades

https://pixelfed.zoo-logique.org/storage/m/_v2/578583396227231930/bc40e5d2a-3c51e6/pAYYPqtIK6ce/GiTL2tQ6A4P1fZLsJrKHgol4E6UOVMNyVCdSs5BL.jpg

Od 14. do 21. svibnja 2021. godine u galeriji Živi Atelje DK u Zagrebu predstavljeno je spomen-platno Prijelaz / The Passage. Prijelaz / The Passage je zbirka memorijalnih portreta izrađenih od crvenog i crnog konca na botanički obojanoj tkanini koji su nastali u okviru umjetničkih istraživačkih radionica koje je osmislila i kurirala selma banich u suradnji s Marijanom Hameršak, a na kojima su sudjelovale umjetnice, znanstvenice, prevoditeljice i druge članice kolektiva Žene ženama i znanstveno-istraživačkog projekta ERIM.

▻https://erim.ief.hr/en/publikacije/prijelaz-the-passage

–-

THE PASSAGE — dedicated to our fallen comrades

#Selma_Banich and #Marijana_Hameršak in collaboration with Women to Women collective

Živi Atelje DK, Zagreb, 2021

https://pixelfed.zoo-logique.org/storage/m/_v2/578583396227231930/bc40e5d2a-3c51e6/n118MWGZ0RVF/979WrJH14UxAXv9ZmTC4Y2p34S3qhalTOjJuXQIA.jpg https://images.squarespace-cdn.com/content/v1/58f33a9f893fc0b6e5580873/1690998057657-EQNNQ1XZISBN2E8FSKFP/the-passage-2-nina-%C4%91ur%C4%91evic%CC%81.jpg https://images.squarespace-cdn.com/content/v1/58f33a9f893fc0b6e5580873/1690998111579-3H2CAHZMS8VJDSWKXBTV/the-passage-10-nina-%C4%91ur%C4%91evic%CC%81.jpg

▻https://selmabanich.org/index#/the-passage
#portraits #art_et_politique #migrations #réfugiés #asile #décès #mourir_aux_frontières #morts_aux_frontières #commémoration #mémoire #textile #Balkans #route_des_Balkans

Aux frontières de la forteresse européenne

Les arrivées de personnes exilées sont régulières en Europe, notamment par voie maritime. Pour toute réponse, les pays de l’Union européenne barricadent toujours plus leurs frontières avec des murs, des patrouilles constantes, des constructions de camps fermés. La journaliste #Elisa_Perrigueur en tient le récit en peintures.

https://pixelfed.zoo-logique.org/storage/m/_v2/578583396227231930/bf4779419-8cf74f/SzGSZ448Rvob/fSu6js1aqgPDl24A5A3vK8BOROKKhXGVSMfaGbKF.png

▻https://www.mediapart.fr/studio/portfolios/aux-frontieres-de-la-forteresse-europeenne
►http://perrigueur.eu/elisaperrigueur/dessins
#dessin #frontières #peinture #art_et_politique #migrations #asile #réfugiés

ping @isskein

Violences

https://vaisseau-leadrouet.com/wp-content/uploads/2023/01/04_VIOLENCES019%C2%A9CindySechet-640x360.jpg

Dans sa nouvelle création qui prend le titre de « Violences », Léa Drouet s’attache surtout à nous faire passer de l’autre côté des gros intitulés. Le long d’une écriture sensible qui se compose au croisement du corps, du son et de la scénographie, elle nous conduit sur le bord des images de la violence telles qu’elles sont agencées pour nous choquer et, nous sidérant, nous empêcher non seulement d’agir mais déjà de sentir.

Résister à l’assignation à la passivité commence peut-être ici : pouvoir éprouver et expérimenter. Reprendre l’expérience de la violence non plus seulement en tant qu’elle est subie par les uns et exercée par les autres, mais en tant qu’elle nous traverse tous et chacun. La violence n’est pas que le lot d’un pouvoir qui nous rend impuissants. Elle est aussi une puissance que nous pouvons déployer pour reprendre des capacités de voir, d’agir et de vivre autrement. Seule en scène, Léa Drouet commence par suivre le parcours de sa grand-mère Mado qui, petite fille, dut traverser des champs et des routes pour échapper à la rafle du Vél d’Hiv’. À partir de là, la metteuse en scène retrace la traversée des frontières qui conduit aujourd’hui d’autres enfants à perdre la vie. Dans les interstices qui séparent les morts que l’on compte de toutes les morts qui ne comptent pas, elle tente de recomposer des mémoires ainsi que des histoires pour l’avenir. L’artiste agit sur un espace principalement composé de sables, évoquant des territoires fracturés, séparés par des frontières ou abîmés par des tours. Si le sable sait parfaitement recouvrir les traces et effacer les marques de violence, il est aussi porteur d’empreintes. Léa Drouet façonne ce paysage où le corps engagé passe du témoin à l’actrice et de l’actrice à la narratrice, comme si les lignes de rupture permettaient surtout des rencontres nouvelles. Alors émergent peu à peu d’autres positionnements, d’autres possibilités d’action et d’autres attentions au détail et au petit. Car c’est peut-être dans la fragilité des grains de sable que se distinguent les fondements, friables et solides à la fois, d’un monde capable d’assumer ses conflits autrement que sous la forme du champ de bataille et de l’État de guerre généralisé.

-- Camille Louis, Dramaturge

▻https://vimeo.com/504326442

▻https://vaisseau-leadrouet.com/projet/violences

#frontières #morts_aux_frontières #mourir_aux_frontières #asile #migrations #réfugiés #violence #art_et_politique #art #théâtre #impuissance #puissance #Léa_Drouet #mémoire #traces #sable #empreintes #conflits

#Anselm - Le Bruit du temps

https://fr.web.img4.acsta.net/c_310_420/pictures/23/10/27/11/38/4810924.jpg

Un film qui éclaire l’œuvre d’un artiste et révèle son parcours de vie, ses inspirations, son processus créatif, et sa fascination pour le #mythe et l’#histoire. Le passé et le présent s’entrelacent pour brouiller la frontière entre film et peinture, permettant de s’immerger dans le monde de l’un des plus grands artistes contemporains, #Anselm_Kiefer.

https://images-film-documentaire.fr/film/293/B15A202D6B114EEFAFD3DE0C1653D293.jpg https://images-film-documentaire.fr/film/85B/FC148E3B169B421BBC96A873AE55385B.jpg https://images-film-documentaire.fr/film/867/AA327D75FC184EFF9AC18A06A9FC5867.jpg

#Dispak_Dispac’h

https://festival-avignon.com/storage/image/30/347230_64b274f79bad6.jpeg

Quelles vies valent d’être pleurées  ? Comment s’ouvrir et comment résister  ? Installons-nous dans l’#agora de Dispak Dispac’h avec les protagonistes et écoutons le magistral #acte_d’accusation émis en 2018 par le Groupe d’information et de soutien des immigrés (GISTI) lors du #Tribunal_permanent_des_peuples qui met l’Europe face aux violations des droits des personnes migrantes et réfugiées que notre continent laisse commettre. Les interprètes et membres de la société civile vont tour à tour prendre la parole, s’écouter, se regarder, danser et créer avec nous un espace propre à éveiller nos envies d’agir. C’est le dispositif imaginé par #Patricia_Allio, autrice, metteuse en scène et réalisatrice bretonne, dont le regard et la pratique bouleversent nos sensibilités et visent notre Europe et ses abdications

▻https://festival-avignon.com/fr/edition-2023/programmation/dispak-dispac-h-332016
#théâtre #migrations #réfugiés #droits_fondamentaux #art_et_politique #justice_transformatrice #politiques_migratoires #accusation

The Congo Tribunal

En plus de 20 ans, la #guerre du #Congo a déjà fait plus de 6 millions de victimes. La population souffre de cet état d’#impunité totale, les #crimes_de_guerre n’ayant jamais fait l’objet de poursuites judiciaires. Cette région recèle les gisements les plus importants de #matières_premières nécessitées par les technologies de pointe. Dans son « #Tribunal_sur_le_Congo », Milo Rau parvient à réunir les victimes, les bourreaux, les témoins et les experts de cette guerre et à instituer un #tribunal d’exception du peuple du Congo de l’Est. Un portrait bouleversant de la guerre économique la plus vaste et la plus sanglante de l’histoire humaine.

▻https://vimeo.com/234124116

▻https://www.film-documentaire.fr/4DACTION/w_fiche_film/53668_0

https://pixelfed.zoo-logique.org/storage/m/_v2/578583396227231930/f1538e3aa-7b3151/EwuKtHyXFRHL/MYv7ARlnCpYNenBlxMNpEiwyuH70hUNrwlc84fKw.png

#film #documentaire #film_documentaire #extractivisme #tribunal_des_peuples #justice_transformatrice #justice #vérité_et_justice #multinationales #responsabilité #Banro #RDC #massacres #témoignage #Twangiza #massacre_de_Mutarule #mine #extractivisme #Sud-Kivu #or #Banro_Corporation #impunité #crimes #douleur #tribunal #engagement #viols #vérité_et_justice #multinationales #guerre #concessions_minières #ressources_naturelles #pillage #minerai #Mining_and_Processing_Congo (#MPC) #Walikale #Bisie #droits_humains #MCP_Alptamin #Mukungwe #milices #Cheka_Group #groupes_armés #diamants #cassiterite #marché_noir #loi_Dodd_Frank #minerai_critique #Mutarule #MONUSCO #ONU #Nations_Unies

Spettacolo teatrale: #Reietti. Come creammo i #CPR

Uno strano detective indaga sulla morte di un ragazzo venuto dalla Nuova Guinea, #Moussa_Balde, avvenuta nel 2021 all’interno del centro di permanenza per il rimpatrio di Torino. Arrivando a sprofondare nelle viscere infernali del più grande buco nero dei diritti in Italia: i CPR.
Una macchina multicefala che trasforma la detenzione di migranti, che non hanno commesso nessun reato penale, in una enorme merce finanziaria.

https://disturbiteatro.files.wordpress.com/2023/04/copertina_reiettiprova3.jpg

“Dentro di te ci siamo noi tutti. Le nostre paure ti tengono insieme, come una malta refrattaria ad ogni contatto umano.
Possiamo decidere di rimanere da questa parte della barricata, difendere il nostro status di occidentali allo sbando, che si sentono attaccati.
Oppure possiamo fare il salto. Toglierci quella corda dal collo, che ci soffoca. Non stare sempre in bilico tra la nostra morte o quella di un nostro simile.
Possiamo riconoscerci nel diverso da noi.
E allora quando riusciremo a fare questo tu, complesso magmatico di corpi, tecnologia, mura, manganelli e sangue, tu crollerai.”

▻https://www.meltingpot.org/2023/07/spettacolo-teatrale-reietti-come-creammo-i-cpr
#théâtre #art_et_politique #détention_administrative #rétention #Italie #Oscar_Agostoni

Fil de discussion sur #Moussa_Balde:
►https://seenthis.net/messages/917091

#Bach_Nord

Un danseur :

« Plus tu as vécu des trucs durs, plus il t’arrive des #injustices dans la vie, plus ça monte à l’intérieur, plus tu as le #potentiel pour faire des #trucs_de_ouf. Si tu comprends comment toute ta #haine, tes patates, boum, tu peux le mettre dans la danse. Eh bhein, c’est une #réussite. Toute ta haine, tu vas arrêter de frapper des gens, tu vas commencer à frapper en l’air et voir comment tu peux faire un truc constructif ».

▻https://www.dailymotion.com/video/x8lwuiv

Sur la #dépatriarcalisation.

Un texte de #Maria_Galindo, dans une série de #posters affichés à #Bologne (mes photos datent d’avril 2023).

«La logica della #lotta non è la #vittoria finalista, ma il #sabotaggio permanente e tenace.
Per questo, formulando la #depatriarcalizzazione formuliamo un soggetto, un orizzonte, una pratica e molte lotte allo stesso tempo. È una matrice capace di mettere radici e dare frutti allo stesso tempo. È una parola che ci serve anche per designare uno stato d’animo: l’#impazienza.
Non ci siamo rassegnate, conformate, adattate. Non siamo disposte ad accettare l’idea...
... che la #liberazione sia un processo così lungo e lento che mai toccherà la nostra vita quotidiana.
L’#utopia ha per noi un carattere urgente, perché vogliamo godere delle nostre vite, per questo la #depatriarcalizzazione non è uno stato definitivo,
ma una azione permanente di #destrutturazione.»

https://i.imgur.com/ZOSJb0k.jpg https://i.imgur.com/7zdPxrq.jpg https://i.imgur.com/RHj31jH.jpg https://i.imgur.com/54Oq9ao.jpg https://i.imgur.com/fbKPatc.jpg

#art_de_rue #street-art #art_et_politique #patriarcat #féminisme #poster #Bologna

Une étude fine et détaillée des controverses autour de la statuaire associée à l’esclavagisme, au travers de l’exemple de la ville suisse de Neuchâtel. Analyses et vocabulaires un peu complexes pour des A1 mais l’essentiel demeure accessible.

La statue, l’esclavagiste et le contre-monument contestés
►https://aoc.media/analyse/2023/02/07/la-statue-lesclavagiste-et-le-contre-monument-contestes

https://aoc.media/wp-content/uploads/2023/02/statue.png

La statue, l’esclavagiste et le contre-monument contestés

Par Bertrand Tillier, Historien

Fin décembre 2022, à Neuchâtel, une récente installation d’art contemporain, conçue comme réponse à la statue de l’esclavagiste David de Pury contestée en 2020 par des militants se revendiquant de « Black Lives Matter », a été à son tour maculée de peinture. Ce dispositif didactique et conceptuel déployé dans l’espace public, qui compte parmi les premiers adoptés en Europe pour réparer symboliquement les mémoires citoyennes blessées, est un contre-monument ironique, temporaire et anti-monumental (...).

Lire la suite sur le site d’ AOC après vous être inscrits et identifiés.

#esclavage #mémoire #réparations #statuaire

Book Review Roundtable : Art & Climate Change
▻https://urbanpolitical.podigee.io/57-bookreview_art_climate_change

The book provides an overview of ecologically conscious contemporary art that responds to today’s environmental crisis, from species extinction to climate change. Art and Climate Change collects a wide range of artistic responses to our current ecological emergency. When the future of life on Earth is threatened, creative production for its own sake is not enough. Through contemporary artworks, artists are calling for an active, collective engagement with the planet in order to illuminate some of the structures that threaten biological survival. Exploring the meeting point of decolonial reparation and ecological restoration, artists are remaking history by drawing on the latest ecological theories, scientific achievements, and indigenous worldviews to engage with the climate crisis. (...)

#urban,political,art,climate_change,anthropocene
▻https://audio.podigee-cdn.net/941127-m-7dd3bea7033c8a4d8ab9789b9c521046.m4a?source=feed

Le artiste e designer iraniane che sostengono la protesta nelle piazze

https://i0.wp.com/altreconomia.it/app/uploads/2022/11/Woman-Life-Freedom_@amande.bleue_.jpg

Da più di due mesi migliaia di giovani scendono in piazza contro il regime di Teheran. Una pagina Instagram (▻https://www.instagram.com/iranianwomenofgraphicdesign) condivide sui social network illustrazioni che rappresentano i gesti simbolici delle manifestazioni: dal taglio dei capelli agli hijab dati alle fiamme. “Continuate a mantenere alta l’attenzione su quello che succede in Iran”

https://i.imgur.com/7G2J2Xo.png

▻https://altreconomia.it/con-le-loro-opere-artiste-e-designer-iraniane-sostengono-la-protesta-ne

#art_et_politique #Iran #Iranian_Women_of_Graphic_Design #design #dessin #caricatures #dessin_de_presse #instagram

#Walid_Ebeid #The_Immigrant

https://i.imgur.com/u4se8ce.jpg

Addressing one of the great moral issues of our time, the refugee crisis in which tens of thousands of unfortunate souls drowned in the Mediterranean, Ebeid commented: “People who feel like strangers in their own countries seeking for a better life in other places where they will realize that they are more strange.” His painting The Immigrant is a kind of shock art, intended to shake us out of complacency. Reversing roles, and expectations, it depicts a fully clothed man (washed up onshore?) lying next to a naked woman at the beach. He is lifeless and discolored, she pale and languid. One of the nudist’s legs is raised, idly—like a cat’s tail twitching on a lazy summer day. It appears that the woman is reading a book, but upon closer inspection, it turns out to be a passport. This is angry, indignant art, laced with defiance and a strange eroticism. But the true obscenity that such a challenging painting suggests is indifference to the pain of Others.

▻https://www.worldliteraturetoday.org/blog/culture/protest-art-walid-ebeid-reflections-four-paintings-yahia-labab

#décès #migrations #plage #peinture #mourir_aux_frontières #morts_aux_frontières #Méditerranée #mer_Méditerranée #mourir_en_mer #art_et_politique

–---

ajouté au fil de discussion : #tourisme et migrations :
►https://seenthis.net/messages/770799

ping @isskein @reka