Our project aims to show people that joy can be an act of resistance and resilience in the face of global justice issues when harnessed in the right way. The sharing of joy can also act as a connector in a society that continues to grow more polarised through the division of social media and mainstream media.
At 7:00 PM on 23 August 1989, approximately two million people from Estonia, Latvia and Lithuania joined hands, forming a human chain from Tallinn through Riga to Vilnius, spanning 675 kilometres, or 420 miles. It was a peaceful protest against the illegal Soviet occupation and also one of the earliest and longest unbroken human chains in history.
On a drizzly, overcast afternoon, all is quiet at the intersection of Bartholomew and Prieur streets in New Orleans’ historic Ninth Ward. The quiet neighborhood around the Ellis Marsalis Center for Music (EMCM) feel worlds away from the historic French Quarter packed with jazz clubs, bars, restaurants, and markets.
2020 was the year of when protest music blared everywhere. For a long period, Black people struggled against police brutality and in the uproar of George Floyd's murder, BLM protests instantly swept over the country. Of the many protest music that was released that year, trumpeter Ambrose Akinmusire wrote a song that would spearhead raging sentiments towards racial injustice beyond just jazz.
To bring attention to the widespread apathy toward climate change, nonprofit group 350action and agency Barton F. Graf 9000 got a little personal. Tapping into the meteorological legacy of naming hurricanes after people–thereby marring the good names of unsuspecting Sandys, Irenes and Katrinas everywhere–“Climate Name Change” told the same storm story, but subbed in the name of prominent politicians who refuse to acknowledge climate change.
Keith Haring is known to be one of the biggest artists raising awareness for HIV and AIDS, considering he had also passed away from HIV. Starting his career covering ads with spray paint and chalk in subway stations in New York City, his work started trending and he became an activist for this cause.
TYRE NICHOLS WAS a photographer with an eye for the natural world. He was especially drawn to landscape portraiture, its calm and innocence. It is said that Nichols liked to crane his lens skyward, capturing what sunlight he could before it dissolved into the horizon. As he drove home after taking photos on January 7, he was pulled over by the Memphis police and what happened next was as tragic as it is terribly commonplace. Tyre Nichols is dead at 29.
On Sunday morning, a puffy, Michelin Man-like figure trudged through Times Square in New York, panting from the exertion of trying to move while wearing 27 hazmat suits.
Inside the white cocoon was Zhisheng Wu, a Chinese artist who staged the street performance to criticize China’s unrelenting zero-Covid policy.
In the broad context of the modern world of art, the work of Beili Liu has always seemed extraordinary in visual terms and deeply profound in thematic development. Born in China and living in the United States, much of her work usually circles themes tightly interwoven with notions of identity, culture, and time.
One of the oldest forms of human expression is art, so it’s no surprise that art is constantly used to critique another of humanity’s oldest practices, violence and war. In the world of art activism, the power of creativity and innovation has been used to create commentary about war since the beginning of time. Art that speaks out against the atrocities of violent conflict embodies empathy, care, and a plethora of other human emotions.
In Hong Kong in 2014 the song Raise Your Umbrella by Denise Ho and Anthong Wong became an anthem for the pro-democracy movement known as the Umbrella Revolution. The song was written after police fired tear gas into the crowds when protestors filled the streets.
Xiao Lu was one of the most influential women in contemporary Chinese art, better known for provoking performance art works and sharp social commentaries. Her works address sensitive social and cultural issues that counter mainstream attitudes and values. In 1989, she put her work "Dialogue" up for exhibition at the National Art Museum of China in Beijing.
On February 14, 2012, three female college student volunteers wore blood-stained wedding dresses and appeared as "wounded brides" in Beijing Qianmen Pedestrian Street.
There were still bloodstains outside the Midwood Mobil gas station on Friday night; a fresh sign taped to a lamppost read “A Hate Crime Happened Here.” This is the place where, less than a week prior, 28-year-old O’Shae Sibley, a gay Black dancer and choreographer, made a pit stop with friends after a Jersey beach day.
The streets of Santiago are once again alive with the spirit of revolution. For weeks now, working-class Chileans have occupied national monuments and blocked major intersections in protest of widespread inequality. They desire full reform — a request so long in the making that it is practically tradition. The country’s floundering political elite offer half measures while dispatching riot police and the military.
Without having been commissioned—or even given legal permission at all—Haring set out to create Crack Is Wack on the wall of an abandoned handball court in a park at 2nd Avenue and East 128th Street on June 27, 1986. Upon the completion of the mural, Haring was arrested by the New York City Police Department for vandalism of city property and faced potential jail time in addition to heavy fines.
The “Occupy Men’s Toilets” movement, initiated by Chinese feminist activists including Li Tingting (Li Maizi) and Wu Rongrong, emerged in 2012 as a creative, non-violent protest against gender inequality in access to public facilities.
‘Since Plotinus’, writes Joseph Tanke (2019, p. 486), ‘Western art has been consecrated to beauty, and beautiful art has been understood as the achievement of good form’. But alongside this interest in beauty and form, art has been committed to politics and perspectives, equity and rights. Consequently, and particularly since the start of the modern era, artists frequently initiate or participate in ‘difficult conversations’.
On April 7, 1973, some 400 cyclists chanting “Bikes don’t pollute” rode through midtown Manhattan in a “Bike-In” that called for separate lanes to encourage bicycling and provide safety on city streets.
Four days before the U.S. presidential election, three Ukrainian activists gathered at a stranded fence in New York City’s East Village to hang an expansive information poster. “19546+ Ukrainian Children Abducted by Russia,” reads its headline in bold. From a black canvas, white letters jump out at the passersby, a haunting reminder of the toll the Russian invasion continues to inflict on Ukrainian families.
Claudio Abbado was an Italian orchestra director (1933 - 2014) who served as chief director at La Scala Theater in Milan from 1968 - 1985. After 18 years of absence, in 2009, he was invited to conduct a concert there. He accepted upon condition that, instead of paying him a monetary honorarium, the city would commit to the planing of 90.000 trees in the city of Milan.
One of the most critical artists on the contemporary art scene is Zhang Huan. His works are of great social insight and unique in how he applies his artistic expression. He thus makes them an almost visual feast with a peek into the multilevel structure of modern society. One such work is the masterpiece "Family Tree," which shows how art can mould our social cognition through multilayered symbolism and profound imagery.
Untitled (Your Body is a Battleground) is an iconic 1989 silkscreen portrait made by artist, feminist and activist Barbara Kruger .
Though the poster was meant for the pro-choice march on April 9th, 1989, in DC, the portrait is now used mainly to voice the artist’s own opinion about gender inequality. The piece is much more relevant in today’s society, where it controls the way we view and treat women’s bodies.