"Puppets Against Aids was launched by Gary Friedman on 1st December 1988 in time for 'World Aids Day' in Johannesburg, South Africa. During 1987, Friedman had been studying with Muppet master, Jim Henson, in Charleville-Mézières, France. Henson provided the initial financial contribution to launch the African Research and Educational Puppetry Programme 'Puppets Against Aids'.
In 2016, the Guggenheim Museum commissioned its very first robotic artwork called Can’t Help Myself (Wannmann, 2016). The artwork is created by two of China’s most controversial artists Sun Yuan and Peng Yu and can be described as a robotic arm that has one specific, life-long duty: to prevent the deep-red, bloodlike liquid, which constantly oozes outwards, from straying too far (Weng, n.d.).
QUESTION: Year after year, decade after decade, you alert the legal authorities to cruelty violations and suffering animals in peril, yet nothing ever happens. You know for a fact there are thousands of screaming and suffering hens inside a factory farm and you know the authorities will once again turn a blind eye, so what do you do?
By throwing away 1,000 pure gold rice grains into a river, a Chinese artist, who wanted to raise public awareness about food waste, found his behavior was not well received by the general public who called the performance "fake art and a waste of money."
As the audience enter, Olivier de Sagazan is pacing the stage, deep in thought. A slight, barefooted figure dressed in suit and tie, he circles in and out the shadows, head bowed, sometimes muttering to himself. As the audience settle and hush, his footsteps gradually become more audible (the floor is mic-ed) and begin to pound like a calling drum.
When dancer Sheen Jamaal saw a video of protestors doing the Cupid Shuffle in New Jersey, inspiration struck to do something similar in New York. He immediately called his friend and collaborator Allison “Buttons” Bedell, and the seed for the Dance For George protest was planted.
The beacon flashed incessantly. On. Off. On again.
Like some sort of traffic light gone crazy, it pierced the thick nighttime mist hovering over San Francisco Bay. The light sent a message five miles across the dark waters from Ghirardelli Square to Alcatraz Island. There, cheers erupted as the light flashed the words, "Go Indians!"
Beginning in the early 1970s, the Los Angeles-based multi-media arts collective Asco (from the Spanish word for nausea) created performances, street theater and conceptual art that satirized the emerging styles of Chicano art and pushed the boundaries of what it might encompass.
Trolls chanted in the streets the day of a planned neo-Nazi rally in the small ski town of Whitefish, Montana earlier this year. But they were not the trolls that residents had been expecting—namely, white supremacists from around the country, who had been harassing the town's Jewish community with death threats.
Bus Regulation: The Musical (2019 – 2023) is a Trilogy of roller-skating Musicals inspired by Andrew Lloyd Webber’s ‘Starlight Express’ performed in three of the UK’s biggest post-industrial city-regions – Greater Manchester, Strathclyde and Merseyside – in collaboration wi
In July and August 2013, O Teatrão, a Coimbra based theatre company, presented the project Arruinados, comprising three theatre performances in three abandoned spaces (‘ruins’), one in each of three cities in the Centre region of Portugal located along the Mondego River:Coimbra, Montemoro Velho, and Figueira da Foz.
Faced with a lack of prosecution of those accused of crimes against humanity committed during Argentina’s military dictatorship, family members and descendants of the country’s estimated 30,000 disappeared took action.
At first glance, it seemed like any other Monday evening in Görlitz, the most eastern town in Germany — where Poland sits just across the river. It was July 31, and a couple hundred people had gathered as part of the so-called Monday demonstrations to protest refugees, the COVID-19 vaccine and the government’s green energy politics.
It was 1967, and sentiment against the Vietnam War was in the air nationwide. The counterculture was flourishing on the heels of the Summer of Love. Organizers from Mobe — the National Mobilization Committee to End the War in Vietnam — initially called for a massive march on Washington.
The New Life Foundation is a Colombian organization located in Bogota, whose aim consists of offering vulnerable women alternatives to quit prostitution and rehabilitate from its surrounding dangers (crime, drug addiction, AIDS, etc.) One of its remarkable projects was based on theater as a method to overcome a past of shame and grief building a more dignant present in which they co-construct with their communities.
This performative art took place at a series called SUBLIME at the Brooklyn Museum, curated by the collective SAWCC (pronounced saucy)- South Asian Women's Creative Collective.
"There is a tragic timeliness to Flyaway Productions' Meet Us Quickly With Your Mercy. As the nation grapples with systemic racism and police brutality, as well as the COVID-19 pandemic, choreographer Jo Kreiter's new aerial work seeks to amplify the call for ending the mass incarceration that disproportionately affects people of color.
On June 17, 1911, a week before the coronation of King George V, women from diverse backgrounds united in costume and with installations over a shared political view - that of rallying the right for women to vote. Known as the Women's Coronation March, women thronged the streets between Blackfriars Bridge and Albert hall in a five-linked chain, dressed for the most part in white.