The project responds to the urgency that many asylum seekers and refugees have as soon as they touch a new country's soil: working and learning the language. The project, located in the former army barracks 'Caserma Piave' in Treviso, started as a grassroots initiative.
It’s time to deport the Statue of Liberty.
That’s the latest mission for Legals for the Preservation of American Culture, an organization which has begun the “Deport the Statue” campaign for the removal of Lady Liberty through four Twitter accounts and a video that hopes to prove the iconic statue is not only an undocumented French immigrant but is “taking a job away from a qualified American statue.”
In El Paso more than 100 murals have been painted since the mid-1960s. The murals, located throughout the city's various corridors, often depict themes common to Chicano muralism, such as mestizo heritage or social problems, but they also tell unique stories about the "merging of ideas, cultures, and dreams" along the United States-Mexico border.
The Real Cost of Prisons Project brings together justice activists, artists, researchers and people directly experiencing the impact of mass criminalization to work to end mass incarceration.
In response to an earlier project called "Daily Bread, Gregg Segal collaborated with the United Nations Refugee Agency to bring awareness to the crisis of refugees fleeing Venezuela through his project "Un-Daily Bread."
The nativity scene at Fellowship Congregational Church in Tulsa, Okla., looks a little different this year: There is a chain-link fence surrounding Mary, Joseph and the baby Jesus.
The display has been up since the beginning of December, but it drew news coverage this week after the church changed the message on its marquee to read, “The holy family was a migrant family,” and posted photos of the nativity on Facebook.
The project associating the contemporary movement of the people with the Gilgamesh journey focuses on the contemporary global crisis of the political systems and humanistic values, with the goal to contribute to the prevention of radicalization of our respective societies mobilized around recent conflicts, enhancement of the wellbeing of immigrants, through opening a space for creative expression and questioning the role of culture in contemporary polit
The Immigrant Yarn Project (IYP), organized and created by Cindy Weil was a massive work of public and democratic (crowd-sourced), yarn-based art honoring our immigrant heritage and promoting tolerance, difference, and community. Weil reached out across the state and beyond to collect yarn-based creations by immigrants and their descendants.
Artist and activist Favianna Rodriguez recently teamed up with Pharrell Williams' I Am Other YouTube Channel to create a moving new documentary series titled "Migration is Beautiful." Addressing the debate surrounding immigration policy in the United States and the overall perception of immigrants, the three-episode project focuses on the growing influence of artists in the political realm.
The user muchachafanzine on instagram is an activist who writes a "decolonial native xicana feminist fanzine". They are an online activist and they spread their message through their page, the zine, and through merchandise. Daisy Salinas began Muchacha Fanzine as a feminist punk zine in 2011. Over the years, Muchacha has grown into a larger, submission-based compilation of work by marginalized voices from around the world.
When Europeans of the 18th and 19th centuries established their grandest museums, each building meant to unite the world’s cultural heritage under a single roof, they had no doubt as to who should explain it all: themselves. They took a Eurocentric view, categorizing the spoils of colonial enterprise by nation and region, splitting art from craft, and nature from culture.
On March 21, just days after eight people, including six women of Asian descent, were killed in the Atlanta-area shootings, thousands gathered at Columbus Park in Manhattan for a rally against anti-Asian violence. Activists took turns addressing the surge in hate crimes and hate incidents toward the Asian American and Pacific Islander (AAPI) community, when an 8-year-old stepped onto the stage. “Stop the hatred!” Chance yelled into the mic.
Trampoline House is a user-driven refugee justice community center located in the center of Copenhagen, where refugees, asylum seekers, and migrants can meet with Danish citizens and other residents of Denmark and share experiences, learn from one another, and work to create a more just and sustainable refugee and asylum policy.
As massacres, civil wars, and violence permeated communities, people have searched for asylum in other countries. Due to its location and relative safety, Spain has become a common destination for immigrants seeking a better life. Female immigrants in particular tend to experience much more arduous journeys in that they frequently are subjugated to sexual abuse.
Singaporean artist Lee Wen’s series Journey of a Yellow Man (1992–2012), one of his most famous and long-standing performances, was not simply a personal affront, it was a political affront. At the intersection of Asian art history, critical race theory, and migration and diasporic studies, one is never far (enough away) from the chromatic framing of race and ethnicity: yellow race, yellow peril, yellow face, the forever foreigner.
Highlights:
A handful of teens donned puffy quinceañera dresses to protest against the “sanctuary cities” ban.
The teens gave paper flowers to lawmakers who voted against SB 4 and flyers to those who voted in favor.
Texas teens took part in a quinceañera-themed protest on the south steps of the Capitol to voice their opposition to Senate Bill 4, the so-called sanctuary cities ban.
The Repellent Fence is a social collaborative project among individuals, communities, institutional organizations, publics, and sovereigns that culminate with the establishment of a large-scale temporary monument located near Douglas, Arizona and Agua Prieta, Sonora. This 2 mile long ephemeral land-art installation is comprised of 26 tethered balloons, that are each 10 feet in diameter, and float 100 feet above the desert landscape.
Promoted as a DIY festival with no corporate sponsorship, the 2015 Latino Punk festival in Brooklyn, NY featured bands from all over the Americas. With an emphasis on local bands supporting each other and nurturing local scenes, this festival functions in reference to the ideals of the punk and Riot Grrrl movements in the 1990s.
Peter Marks Review from the Washington Post:
“As Far as My Fingertips Take Me,” a performance piece about the ordeal of seeking refuge by Tania El Khoury that’s being presented for the next 2½ weeks in the lobby of Woolly Mammoth Theatre. For this hypnotic, one-audience-member-at-a-time experience, you pass through the door of a white-walled booth and slip into a white lab coat before putting on a pair of headphones.
A new, three-minute ad by Coca-Cola, "Small World Machines," starts with a relatively straightforward premise: India and Pakistan do not get along so well. It ends with the promise of peace: "Togetherness, humanity, this is what we all want, more and more exchange," a woman, either Indian or Pakistani, narrates as the music swells. Sounds great. How do we get there? By buying Coke, of course.
Alejandro Ghersi, the Venezuelan-born artist behind Arca, is part of a relatively recent and growing diaspora, and at a time when the political situation back home is at a fever pitch, it feels difficult not to see the ways this album relates to the anguish of that experience.