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The mischievous posters began appearing all over London in the past two months. On the side of an East London bus stop, one of them shows Elon Musk, the world’s richest man, emerging from a Tesla’s roof with his hand pointing upward in a straight-armed salute. “Goes from 0 to 1939 in 3 seconds,” the ad reads. “Tesla. The Swasticar.”

In a case of voter fraud, an investigation revealed that the party in power had won fifty votes from the residents of a single apartment. A group of activists reproduced the apartment in a downtown square and invited 50 people inside. The action took just one part of the case, literally brought it into three dimensions, and showed the absurdity that this could ever be legitimate.

A group of women walked from Barisal, Bangladesh to Khulna to join up with the long march that was crossing the city that day. By long, I really mean long: this march traveled a distance of 145 kms, walking most of the way, meeting people, holding street meetings and telling people why the Rampal coal plant shouldn’t be built in the Sundarbans.

For centuries, (male) artists have perpetuated a relatively consistent image of the female nude: She’s soft, willowy, and docile. Sensual but not sexually aggressive. Flirtatious but not confrontational. She’s not quite a human but, mediated through the lens of a camera and the eyes of a man, an object of desire in the flesh.

In a gallery in Hong Kong’s Chai Wan district last week, during the city’s third annual installment of the international Art Basel fair, the Beijing-based artist Huang Rui introduced a new live work called “Red Black White Grey.” At the start of the performance, four affectless women walked onstage wearing trench coats, then disrobed one by one as Huang, who is sixty-three, slathered their bodies with black and then white paint.

Taken from Boston Globe Article: http://www.boston.com/bostonglobe/editorial_opinion/editorials/articles/2010/05/06/chinatown_the_video_game/ 

When the U.S. government came after Anglea Davis, art came to her defense. Targeted by the Federal Bureau of Investigation as one of its “10 Most Wanted” in 1970, tracked down, jailed and accused of three capital crimes, artists and activists around the world rose to her defense. She would be found not guilty on all counts.

Comusitària is a Community Cultural Development agency based in Barcelona run by Noemi Rubio and Laia Serra. They work in the production, management, research and dissemination of artistic projects that build social capital and enable citizens to live more active, critical and creative lives.

Unas clientas esperan tranquilamente en un banco, cuando empieza a sonar una extraña canción en el hilo musical. Una clienta se sale de la cola y comienza a bailar con brío flamenco, y sorprendentemente el resto de clientes se le unen en una compleja coreografía con mucho desparpajo.