By throwing away 1,000 pure gold rice grains into a river, a Chinese artist, who wanted to raise public awareness about food waste, found his behavior was not well received by the general public who called the performance "fake art and a waste of money."
Visions from the Inside is a project enlisting 15 artists from across the country to create a piece of art based off letters from women in detention. The initiative, a collaboration between CultureStrike, Mariposas Sin Fronteras and End Family Detention, illuminates the horrific realities of life inside some for-profit detention facilities in the U.S., as well as the resilient spirit that keeps the inmates going.
Whose job is it to create a city? Our intention is to jumpstart a new profession that can re-invent and negotiate the complex mix that encompasses a city. We have defined a radical new occupation to regenerate, pioneer, and sustain the future urban realm. These innovative multi-disciplinarian advocates are called Urbaneers. Their immense task is to manifest and facilitate the next expression of city across the globe.
This month, the art of Chinese dissident Badiucao has finally seen the light of day in Melbourne — more than a year after the Australian artist's Hong Kong exhibition was cancelled due to threats reportedly made by Chinese authorities.
In Portland, Ore., organizers of the “Reparations Happy Hour” invited black, brown and indigenous people to a bar and handed them $10 bills as they arrived, a small but symbolic gift mostly funded by white people who were asked not to attend.
The Kodaikanal Won't video by Chennai artist Sofia Ashraf, asking Unilver to 'clean up their mess' in connection with the Kodaikanal mercury dumping, has gone viral with over 783,533 views at the time of writing this, in just over two days. It has been shared on social media by prominent personalities such as Nandita Das, Varun Grover, Vishal Dadlani and was even praised by Nicki Minaj, on whose song Anaconda, the rap is based on.
Nanfu Wang feels safe in New York. Surveillance, that essential preoccupation of the documentarian in America, is a chokehold from which she has been temporarily released. From her Brooklyn apartment, the Chinese filmmaker prepares for the release of her debut feature documentary, Hooligan Sparrow.
If there’s one thing we know for certain about China in 2019, it’s that people there love their apps. They use WeChat to talk with friends; they spend hours battling virtual enemies on PUBG; they binge-watch short videos on Douyin. And so why shouldn’t the Communist Party get in on the action?
Elina Chauvet’s red shoes are worldly. They’ve been in Milan, Italy, and Grand Rapids, Michigan. Not just one pair, but hundreds — red boots, red heels, red toddler shoes. They’re not there to see the sights, but to take up space. Especially when the women or girls who would have worn them no longer take up any space, except in the lives of their loved ones.
The No Hate Speech campaign has come to its fourth anniversary this week, because it was on the 18th of March 2013 when the Spanish Institute for Youth IMG_9707(INJUVE) officially launched the campaign in Spain, to commemorate the 21st of March, declared by the UN as Day for the Elimination of Racial Discrimination of that year.
On November twelfth, 2008, over 80,000 copies of a replica of the New York Times were distributed in several cities around the United States. The paper included 14 pages of “best case scenario” news set nine months in the future.
See the The New York Times Special Edition website.
Canadian Broadcasting Corporation, Tuesday, August 3, 2010: Several Greenpeace activists are in police custody after three of them rapelled off the Calgary Tower to hang a banner attacking the relationship between the oilsands industry and government.
Bea Camacho is a visual and performance artist from the Philippines, the provocation of whose work is described as exciting and strikingly into identity, intimacy, and isolation. Her art is known to delve into the human complex of experiences and offer a layered narrative within its visual and performance medium.
The Paris-based collective Claire Fontaine displays a neon sign that spells the words ‘Foreigners Everywhere’ in Arabic. Since this sign was installed strategically above the gallery’s wall-length window – facing in the street – in the edition of the show I saw, at Parsons in New York, it interacted not only with Parsons’ exhibition site but also with the urban environment beyond it.
On Christmas day in 1993, kids were finding more than they bargained for under their trees: Mattel’s new talking Barbie dolls growled “Dead men tell no lies,” while Hasbro’s macho GI Joe’s chirped “I love to shop with you.”
In February , two leaders of a guerrilla movement here traveled to the financial district carrying a wooden container that contained three pigs, each painted yellow from snout to tail.