Projects tagged "Violence & War"

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Mis(s)placed Women? (2009-2022), is a collaborative art project, consisting of performances, performance series, performance art workshops and delegated performances, including contributions by over 180 individuals from six continents. Many of them are artists, mainly identifying themselves as women from diverse backgrounds. Mis(s)placed Women?

In September 1971, after years of mistreatment and months of simmering tensions, more than 1,200 of the 2,200 inmates at the Attica Correctional Facility in upstate New York took control of the prison in protest of its substandard conditions and openly racist corrections officers.

The snapshots are thrust at us urgently, as if they were passports being shown at a border crossing, official proofs of national identity. Mostly, they are prosaic pictures of family members or houses. Sometimes a diploma will be offered up instead, or theater reviews clipped from newspapers or a membership card to a duck-hunting club. Later, other, more frightening, pictures will be shown, but they all serve the same function.

Creative Time, Social Practice Archive: In 1989 actress/writer Rhodessa Jones was conducting classes at the San Francisco County Jail. Working with female inmates, she developed material for a performance piece called Big Butt Girls, Hard-Headed Women based on their lives and shared experiences.

WHAT: Noise Demo WHEN: 8:00pm, Saturday, May 12th WHERE: Bayview Correctional Facility – West 20th Street & 11th Avenue New York, New York COST: Free

It’s the summer of 1971 and tourists flock around one of Washington DC’s most famous hotspots – the Capitol steps. Journalist Art Goldberg recalls ‘a squad of soldiers moving through the space. They are grubby-looking troopers, clad in jungle fatigues. Jumping a low fence, they begin shouting at a group of tourists. “All right! Hold it! Hold it! Nobody move. Nobody move!” Their voices full of tension and anger. A man runs from the crowd.

Activism through print media is often done through duplication: posters, flyers, magazines, manifestos. But with these media, each individual duplicate holds the same, political message. In Felix Gonzalez-Torres's "Untitled" (Death by Gun) (1990), a stack of posters are placed in the gallery space for people to take with them. As the pile is depleted, more posters are printed.

This is the sixth piece of the series Tatlin’s Whisper which examines the relationship between apathy and anaesthetization of the images in the mass media. This series intends to activate images, well-known because of having been repeatedly seen in the press, but are here decontextualized from the original event that gave way to the news and staged as realistically as possible in an art institution.

“I want to show the people how bad the troubles were," says artist Muhiyidin Sharif Ibrahim of Mogadishu, Somalia. "That’s the message we’re going to send to people.” (Robyn Dixon, Los Angeles Times)

Often in military style video games we kill without much regard for the enemy. They are faceless or stereotypical, the Nazi or evil Cold War–era Russian. They are enemies that were fought on the battlefields of great wars, or they are aliens that have no resemblance to humans save for a general humanoid form.

This project consisted of an articulation between research, public policy and art. Corpovisionarios por Colombia was implementing a social change initiative in one of the poorest and most violents neighborhoods in Cali, Colombia. The demographic information showed that the most implicated population in the violence and murder cases were young men. They informed their masculinity through ideas of territory and its violent protection.