Main Gallery

SORT Random (lowest)Random (highest)Date (lowest)Date (highest)Views (lowest)Views (highest)Favorited (lowest)Favorited (highest)Social shares (lowest)Social shares (highest)Post Date (lowest)Post Date (highest)

I am a visual activist. Most of what I have done over the years focuses on black LGBTQIA+ and gender-non-conforming individuals from South Africa and other neighbouring countries. It’s about making sure we exist in the visual archive. I call myself a visual activist — or, rather, a cultural activist, because this work is not only about the arts; I’m focusing on education, I’m dealing with culture in a way that confronts a number of issues.

In an effort to provide abused children with a safe way to reach out for help, a Spanish organization called the Aid to Children and Adolescents at Risk Foundation, or ANAR for short, created an ad that displays a different message for adults and children at the same time.

A changing cast of theater workers — actors, seamstresses, lighting technicians and prop masters — are protesting the privatization of a stage once graced by some of Europe’s greatest thespians, from Sarah Bernhardt to Vittorio Gassman.

Her name is Zaria Forman, a leading artist in contemporary art with a cause. She is not only an exceptional human being; she is also an incredible American drawer who uses art to convey the emergency of climate change. Zaria’s ultra-realistic drawings explore moments of raw beauty, peace in the landscape, power in the ice and transition that allow the viewers to emotionally connect with places they may never see in real life.

The People’s Bank of Govanhill uses social and activist art practices to involve people in re-imagining the local economy, looking at how we can put feminist economics into practice in the local community.

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.

TEACHINGS OF DIOGENES (c. 412- c. 323 B.C )

Artists Statement:

The yarn bombing started with Louise Moerup’s school run in central Copenhagen. On the walk through the park each morning, she and her 10-year-old son would often discuss a naked statue of the goddess Venus there and wonder why there weren’t more statues of real women instead.