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This article presents a case study of the assembled events of The PartisanCafé and The Museum of Burning Questions, curated by the transnational groupfreethought as part of their contribution to the Bergen Assembly 2016. It is arguedthat the assemblage forms an experiment to materialize present theories of radicaldemocracy and the radical art institution, respectively, and take the form of apara-institutional artivism. On this ground, and drawing on the concept of theassemblage, it is discussed what the outcome and learning of the experiment mightbe. The events played simultaneously in the city and on social platforms such asFacebook, mixlr and vimeo and together with released material on the internetfrom freethought these resources provide the empirical base of the case study. Theauthors participated in the opening week of September 2016 and the analyses aresupported by on site observation.

Experienciar um ritual pertencente a outra cultura proporciona pensarmos questões relacionadas à nossa própria cultura, a partir de uma espécie de ‘distanciamento’, pois ao ‘olhar’ o outro percebemos aspectos de nós mesmos. Para uma performer, vivenciar um ritual de iniciação feminina, no caso aqui, do povo indígena Tikuna: Worecü, é refletir sobre o quanto o contexto em que vivemos influência nosso fazer artístico, já que vida e arte estão entrelaçadas, pensando a partir do conceito de artivismo.

This article analyzes the role of key visual technologies in contemporary media activism in Brazil. Drawing on a range of media formats and sources, it examines how the aesthetic politics of activists in protests that took place in 2013 opened the way for wider sociopolitical change. The forms and practices of the media activists, it is argued, aimed explicitly at producing transformative politics. New media technologies were remediated as a kind of equipment that could generate new relationships and subjectivities, and thereby access to intentionally undetermined futures.

This article presents an analysis of street poetry (as a graffiti-like expression) in Latin America and Europe. My main objective is to discuss how this form of poetic intervention in public spaces builds dialogue with the city's inhabitants, in other words, how it acts as a tool to encourage reflections within urban spaces towards the constitution of new shared public spaces. Thus, this analysis is divided into three parts: (i) relationships generated in the city and its inhabitants in reference to street poetry; (ii) the place of 'artivism' (the conjunction of street art and political-social activism) as a poetic expression in public spaces; and (iii) the role of social networks as channels for the dissemination and promotion of street art, in this case, a poetic assault. Finally, a qualitative methodology based on a set of interviews and on work with secondary sources (visual documents) was used for the analysis. Hence, I used photographs of street poetry taken in Latin America (Buenos Aires, Lima, and Montevideo) and in Europe (Barcelona, Berlin, Florence, and Porto). Aquest article planteja una anàlisi de la poesia de carrer (com a expressió grafitera) a Llatinoamèrica i a Europa. L'objectiu principal és discutir com aquesta manera d'intervenció poètica en l'espai públic és constructora de diàlegs amb l'habitant de la ciutat, és a dir, com una eina que provoca una reflexió en l'espai urbà cap a la constitució de nous espais públics compartits. Per a fer-ho, com a línia estructurant, l'article es divideix en tres blocs: i) les relacions que es generen a la ciutat pel que fa a la poesia de carrer i l'habitant; ii) el lloc de l'artivisme (conjunció entre l'art de carrer i l'activisme politicosocial) com a expressió poètica en l'espai públic; i iii) el paper que tenen les xarxes socials com a canals de difusió i de promoció de l'art de carrer i, en aquest cas concret, de l'assalt poètic. Finalment, per a aquesta anàlisi s'ha utilitzat una metodologia qualitativa, basada en un conjunt d'entrevistes i en el treball amb fonts secundàries, específicament documents visuals. En aquest sentit, s'han utilitzat fotografies de poesia de carrer fetes in situ per l'investigador a Llatinoamèrica (Buenos Aires, Lima i Montevideo) i a Europa (Barcelona, Berlín, Florència i Porto).

Submitted by Boris Flegr (boris@uerj.br) on 2021-01-05T21:40:19Z No. of bitstreams: 1 Dissertacao Luisa Antonitsch M Mello.pdf: 2124576 bytes, checksum: 28e2e07b10283025641e4412202d75f0 (MD5) Made available in DSpace on 2021-01-05T21:40:19Z (GMT). No. of bitstreams: 1 Dissertacao Luisa Antonitsch M Mello.pdf: 2124576 bytes, checksum: 28e2e07b10283025641e4412202d75f0 (MD5) Previous issue date: 2018-05-17 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior This dissertation reflects about the women's movement around the city, due to the cultural events that they promote and occupy in Baixada Fluminense. Through the concept of flâneur and the women who assume the flânerie, called the flâneuses, I think about how it is the relation between woman and the streets of the city and how the mechanisms of cultural resistance arise in this relationship, when bringing to the metropolitan region of Rio de Janeiro and its specificities. Thus, I understand the concepts that involve the practices of cultural resistance carried out by women in the context of the cultural collectives of Baixada Fluminense, when creating events on the streets or out off the streets. I propose to investigate the street as a physical and symbolic space occupied by these women, and their artistic and political practices, which embrace the concept of artivism in a feminist thinking. Esta dissertação apresenta uma reflexão sobre o circular das mulheres pela cidade, em função dos eventos culturais que promovem e ocupam na Baixada Fluminense. Por meio do conceito de flâneur e das mulheres que assumem o ato de flanar, as flâneuses, penso de que maneira se dá a relação da mulher com as ruas da cidade e como nessa relação surgem mecanismos de resistência cultural, ao trazer para o âmbito da região metropolitana do Rio de Janeiro e suas especificidades. Assim, compreendo os conceitos que permeiam as práticas de resistência cultural realizadas por mulheres dentro do contexto dos coletivos culturais da Baixada Fluminense, ao criarem eventos nas ruas ou fora delas. Proponho uma investigação da rua como espaço físico e simbólico ocupado por essas mulheres, e suas práticas artísticas e políticas, que abarcam o conceito de artivismo dentro de um pensamento feminista.

Este estudio describe los conceptos, antecedentes, lenguaje y experiencias fundamentales del artivismo, a partir de las actividades de estudio en la Universidad de Nottingham Trent y en la Universidad Complutense de Madrid, con la colaboración de otras entidades culturales como la francesa Élan Interculturel (Francia) y Artemiszio (Hungría), explorando la capacidad educativa de nuevas formas de compromiso social mediante la innovación y creación artística. El artículo acota y define el artivismo como un nuevo lenguaje que surge del desborde de la creación artística académica y museística, hacia los espacios y lugares sociales. El artivismo, hibridación del arte y del activismo, tiene un mecanismo semántico en el que se utiliza el arte como vía para comunicar una energía hacia el cambio y la transformación. El análisis recoge algunas de las principales experiencias en artivismo mediante diversas técnicas –estudio de ejemplos de artivismo mediante análisis semántico, realización de archivo de fenómenos artivistas siguiendo metodologías de paseos urbanos e investigación situacional, y estudio de la capacidad didáctica y formativa de los artivistas y sus trabajos por su facilidad para romper los muros de las aulas e invertir los roles de creador y espectador, alumno y profesor, mediante experiencias en talleres– para de esta manera reflexionar finalmente sobre la utilidad del artivismo como nuevo lenguaje social y como herramienta educativa, capaz de romper los roles tradicionales de la comunicación social. This study describes the concepts, historical precedents, language and fundamental experiences of artivism. It shows the research activities from two main universities (Complutense de Madrid in Spain and Nottingham Trent in UK) as well as other cultural institutions (Élan Interculturel from France and Artemiszio from Hungary), which have explored the educational potential of artivism as a new way of achieving social engagement using innovation and artistic creation. The paper defines precisely artivism as a new language which appears outside the museums and art academies, moving towards urban and social spaces. Artivism is a hybrid form of art and activism which has a semantic mechanism to use art as a means towards change and social transformation. The analysis collects some central experiences of the artivist phenomenon and applies semantic analysis, archiving artivist experiences, and using urban walks and situational research, analyses the educational and formative potential of artivists and their ability to break the classroom walls, and to remove the traditional roles of creator and receptor, student and professor, through workshop experiences. Finally, it reflects upon the usefulness of artivism as a new social language and an educational tool that breaks the traditional roles of social communication

espanolDurante este articulo, nos adentraremos en reflexionar sobre la capacidad reivindicativa del arte, concretamente el urbano, sirviendo como un elemento catalizador de procesos sociales y comunitarios. Ademas, estableceremos puntos de union con la labor del Educador/a Social y el artivismo o activismo desde el arte y de que manera todo ello puede ayudar a la reivindicacion feminista. Para ello, ahondaremos de manera breve, en la obra de diferentes mujeres artistas urbanas, naturales de distintos paises y poder establecer asi un mapa que abarque diferentes latitudes y maneras de intervenir en el espacio urbano. EnglishDuring this article, we will enter into the reflexive capacity o f art, specifically urban art, serving as a catalyst for social and community processes. In addition, we will establish points of union with the work of the Social Educator and the artivism or activism from the art and how all this can help the feminist claim. To do this, we will briefly delve into the work of different women urban artists, natives of different countries and thus establish a map that covers different latitudes and ways of intervening in the urban space

Este estudio describe los conceptos, antecedentes, lenguaje y experiencias fundamentales del artivismo, a partir de las actividades de estudio en la Universidad de Nottingham Trent y en la Universidad Complutense de Madrid, con la colaboración de otras entidades culturales como la francesa Élan Interculturel (Francia) y Artemiszio (Hungría), explorando la capacidad educativa de nuevas formas de compromiso social mediante la innovación y creación artística. El artículo acota y define el artivismo como un nuevo lenguaje que surge del desborde de la creación artística académica y museística, hacia los espacios y lugares sociales. El artivismo, hibridación del arte y del activismo, tiene un mecanismo semántico en el que se utiliza el arte como vía para comunicar una energía hacia el cambio y la transformación. El análisis recoge algunas de las principales experiencias en artivismo mediante diversas técnicas –estudio de ejemplos de artivismo mediante análisis semántico, realización de archivo de fenómenos artivistas siguiendo metodologías de paseos urbanos e investigación situacional, y estudio de la capacidad didáctica y formativa de los artivistas y sus trabajos por su facilidad para romper los muros de las aulas e invertir los roles de creador y espectador, alumno y profesor, mediante experiencias en talleres– para de esta manera reflexionar finalmente sobre la utilidad del artivismo como nuevo lenguaje social y como herramienta educativa, capaz de romper los roles tradicionales de la comunicación social., This study describes the concepts, historical precedents, language and fundamental experiences of artivism. It shows the research activities from two main universities (Complutense de Madrid in Spain and Nottingham Trent in UK) as well as other cultural institutions (Élan Interculturel from France and Artemiszio from Hungary), which have explored the educational potential of artivism as a new way of achieving social engagement using innovation and artistic creation. The paper defines precisely artivism as a new language which appears outside the museums and art academies, moving towards urban and social spaces. Artivism is a hybrid form of art and activism which has a semantic mechanism to use art as a means towards change and social transformation. The analysis collects some central experiences of the artivist phenomenon and applies semantic analysis, archiving artivist experiences, and using urban walks and situational research, analyses the educational and formative potential of artivists and their ability to break the classroom walls, and to remove the traditional roles of creator and receptor, student and professor, through workshop experiences. Finally, it reflects upon the usefulness of artivism as a new social language and an educational tool that breaks the traditional roles of social communication

Artivism is ambiguous: Positioned between art, politics, and protest movements, it is an artistic-political practice giving voice to the opposition to capitalism and consumerism. Some believe Artivism to be the first new art form of the twenty-first century. However, Artivism also has a tradition: Artists have combined art and activism long before artivists became part of (or triggered) the Occupy Movement, or before Pussy Riot became the world-wide face of protest. In the contribution, the author reflects upon Artivism as an artistic practice and as a political practice. In line with the main theme of this book, the author also analyzes its link to the impacts of the global capitalist economy and the so-called market-based turn in society.

El presente trabajo parte de la teoría constructivista neo-funcionalista como aquella que permite entender que los procesos de diálogo y participación social son los que construyen cultura, asumiendo una visión dinámica y cívica de la misma, en contraposición a las visiones orgánicas y mucho más conservadoras. El objetivo principal es el de crear un panel de análisis de obras teatrales desde el punto de vista del drama (sentido) y del posdrama (sinsentido), introduciendo de forma transversal conceptos tales como identidad, interculturalidad y participación. El objetivo secundario, y como forma de validación de los paneles, es el de analizar de forma comparada las similitudes y diferencias de dos tipos de manifestaciones del posteatro en lengua española, Europa y el teatro andino, particularmente en Ecuador. La investigación, con un marcado carácter descriptivo y con una visión cualitativa, ha utilizado el método analítico-sintético para abordar un total de siete obras con un modelo de análisis dramático y posdramático. Como resultado, se ve validada la utilidad de dichos paneles desarrollados para realizar este tipo de estudio sobre los elementos del orden y el caos, a la vez que para comprender la participación interna y externa. Como conclusión general, se observa que las obras ecuatorianas actuales responden a una cultura del posdrama que hace uso de elementos de la etapa dramática unitaria y de factores diferenciales de carácter indígena, This paper is based on a neo-functionalist constructivist theory, allowing us to understand that dialogue processes and social participation build culture with a dynamic and civic vision, as opposed to organic and more conservative visions. The main objective is to create a panel analysis of plays, from the point of view of drama (sense) and post-drama (nonsense), introducing cross-cutting concepts such as identity, interculturality and participation. The second objective, as a way to validate these panels, is to comparatively analyze the similarities and differences of two types of post-theater expressions in the Spanish language, European and Andean theater, particularly in Ecuador. This descriptive and qualitative research applies the analytical-synthetic method to approach the study of seven plays, with a dramatic and postdramatic model. As a result, the usefulness of the panels developed for this study on the elements of order and chaos is validated, as well as the ability to understand internal and external participation. As a general conclusion, it is observed that current Ecuadorian plays respond to a post-drama culture that uses elements of the single dramatic stage and distinctive indigenous factors

Este artículo consiste en una investigación sobre comisariados de carácter artivista y pedagógico (2007-17) que ha sido desarrollada por artistas contemporáneos, profesores universitarios y estudiantes de la facultad de educación, docentes en activo y alumnado de infantil, primaria y secundaria. Pretende visibilizar una serie de proyectos de investigación artística financiados por instituciones públicas, con el reto de modificar la formación del profesorado. Uno de los resultados de esta experimentación se ha plasmado en exposiciones en museos y centros de arte contemporáneo de reconocido prestigio. Estos proyectos, basados en el artivismo contemporáneo, rompen las barreras académicas y las rutinas obsoletas en la formación del profesorado. Han conseguido expandir los modelos docentes más allá del espacio del aula, como emergencia de lo colectivo y del interés educativo en lo procomún. Se empleó la artografía como una metodología de investigación que desvela las tres identidades interconectadas del «artista, investigador y profesor», como aquella persona que, en su acción docente, es capaz de desarrollar una práctica creadora con su alumnado a través de procesos experimentales en la investigación artística. La artografía genera un espacio de aprendizaje para el quiebre de significados educativos. Es en esta zona intermedia de provocación intelectual, en donde los comisarios plantean proyectos artivistas capaces de generar tácticas de proximidad entre dos campos aparentemente separados, el del arte y la educación This article incorporates research involving artivist and pedagogical curatorships (2007-17) that were developed by contemporary artists, university professors, students from the Faculty of Education, practising teachers and students from nursery, elementary and secondary school. It intends to showcase a series of artistic research projects financed by public institutions, facing the challenge of transforming teacher training. These contemporary artivism-based projects have been able to break academic barriers and obsolete routines in teacher training. One of the results of this experimentation has been materialised in exhibitions at renowned museums and contemporary art centres. They have managed to expand teaching models beyond the classroom space, as the emergence of the collective and the educational interest in the commons. A/r/tography was used as a research methodology that unveils the three interconnected identities of the “artist, researcher and teacher” as the person who, in his or her teaching practice, is capable of developing a creative practice with students through experimental processes in artistic research. A/r/tography generates a learning space where educational concepts can be broken. It is in this intermediate zone of intellectual incitement that curators propose artivist projects capable of generating tactics of proximity between two apparently separate fields: art and education

Este artículo consiste en una investigación sobre comisariados de carácter artivista y pedagógico (2007-17) que ha sido desarrollada por artistas contemporáneos, profesores universitarios y estudiantes de la facultad de educación, docentes en activo y alumnado de infantil, primaria y secundaria. Pretende visibilizar una serie de proyectos de investigación artística financiados por instituciones públicas, con el reto de modificar la formación del profesorado. Uno de los resultados de esta experimentación se ha plasmado en exposiciones en museos y centros de arte contemporáneo de reconocido prestigio. Estos proyectos, basados en el artivismo contemporáneo, rompen las barreras académicas y las rutinas obsoletas en la formación del profesorado. Han conseguido expandir los modelos docentes más allá del espacio del aula, como emergencia de lo colectivo y del interés educativo en lo procomún. Se empleó la artografía como una metodología de investigación que desvela las tres identidades interconectadas del «artista, investigador y profesor», como aquella persona que, en su acción docente, es capaz de desarrollar una práctica creadora con su alumnado a través de procesos experimentales en la investigación artística. La artografía genera un espacio de aprendizaje para el quiebre de significados educativos. Es en esta zona intermedia de provocación intelectual, en donde los comisarios plantean proyectos artivistas capaces de generar tácticas de proximidad entre dos campos aparentemente separados, el del arte y la educación, This article incorporates research involving artivist and pedagogical curatorships (2007-17) that were developed by contemporary artists, university professors, students from the Faculty of Education, practising teachers and students from nursery, elementary and secondary school. It intends to showcase a series of artistic research projects financed by public institutions, facing the challenge of transforming teacher training. These contemporary artivism-based projects have been able to break academic barriers and obsolete routines in teacher training. One of the results of this experimentation has been materialised in exhibitions at renowned museums and contemporary art centres. They have managed to expand teaching models beyond the classroom space, as the emergence of the collective and the educational interest in the commons. A/r/tography was used as a research methodology that unveils the three interconnected identities of the “artist, researcher and teacher” as the person who, in his or her teaching practice, is capable of developing a creative practice with students through experimental processes in artistic research. A/r/tography generates a learning space where educational concepts can be broken. It is in this intermediate zone of intellectual incitement that curators propose artivist projects capable of generating tactics of proximity between two apparently separate fields: art and education

Debido a la creciente importancia que adquieren las herramientas tecnológicas en las estrategias de comunicación, y teniendo en cuenta que las Organizaciones no Gubernamentales (ONG) utilizan Instagram como una herramienta con potencial artivista para difundir sus iniciativas y necesidades, el presente artículo tiene como objetivo investigar la forma y el contenido de las fotografías publicadas en esta red social a lo largo del año 2017 por las 20 ONG más relevantes a nivel internacional. En concreto, se estudia la elección de elementos formales, como el tipo de plano o la edición, la finalidad del mensaje que se quiere trasladar o el sentimiento transmitido en las fotografías, así como el tipo de actor o actores protagonistas de las imágenes (rol, número, gesto, sexo y edad). Además, se estudia el «engagement» generado por las fotografías y el uso que se hace en ellas de la figura del niño. Se utiliza como metodología el análisis de contenido, el análisis estadístico no paramétrico con prueba de Chi-cuadrado y el análisis de varianzas (ANOVA). Los resultados del estudio muestran cómo la imagen prototípica que usan las ONG –receptor de la ayuda menor de edad, disfrutando de los beneficios de esta ayuda y con gesto positivo– presenta un contenido y un formato que no se corresponden con el tipo de imagen que más «engagement» genera entre los usuarios y seguidores Due to the increasing importance of acquiring technological tools in communication strategies, and while taking into account that non-Governmental Organizations (NGO) use Instagram as a potential artivist tool to disseminate their initiatives and needs, the present article aims to investigate the form and content of photographs published on Instagram during 2017 by the 20 most relevant NGOs at the international level. Specifically, we study the choice of formal elements, such as the design and editing, the intended purpose and feeling of the message transmitted in the photographs, as well as the type of actor or actors in the images (including their role, number, gesture, sex and age). In addition, we study the use and the engagement generated by children’s images. Content analysis, non-parametric statistical analysis with Chi-square test and variance analysis (ANOVA) are used as methodologies. The results of the study show how prototypical images used by NGOs (young children enjoying the benefits of aid with positive appearance and gestures) present content and formats that do not correspond to the type of image that generates more engagement from the target audience

“A Marathon Camp for Artistic Strategies in Politics and Political Strategies”, which was part of the 2012 Steirischer Herbst festival, is a symptomatic example of subverting the horizontal modes of self-organisation to the benefit of the cultural industry of the existent or an aestheticisation of resistance. Despite its superfluous curatorial packaging, Truth Is Concrete (Sternberg Press, 2014), a collection of contributions by the project participants, can be a source of potential new reflections on artivism and (its) “nonviolence”. The key question that the event and the publication raise is why artivism often evokes ambiguous and mixed feelings.

This article addresses artivism in Vikram Gandhi's 2011 documentary film Kumaré: The True Story of a False Prophet. The documentary tells the story of the fake guru Kumaré (played by Gandhi) who sets out to prove that spiritual leaders are illusions and that the power of self-transformation lies within the individual. Gandhi's intention of revealing the illusory quality of representation in religion forms the more conventional artivist arc of the documentary. The documentary's self-help narrative is, however, challenged by the filmmaking process that creates an unexpected relational field extending well beyond Gandhi's intentions. The article elaborates on unintentional relationality through the notion of fabulation and argues for an ethics that foregrounds collective creativity and questions individualistic self-transformation.

This article takes up the implications of the blurring of art and politics in two documentary contexts: Ai Weiwei's art activism in China, as documented in Alison Klayman's award-winning film Never Sorry, and the Gezi protests in Turkey, documented and disseminated virally through the Internet. Drawing parallels between the self-proclaimed hooliganism of Ai Weiwei and the Turkish protesters, who co-opted the hooligan label that the government used to incriminate them and turned it into a tool for resistance, the article argues that hooliganism is just another incarnation of unruly documentary artivism, which has become prevalent in an era of digitally mediated, global social justice movements. As an interpretive framework for understanding how documentary hooliganism operates, the article proposes Tony D. Sampson's theory of virality and its application of Dawkins's neo-Darwinian memetic thought contagion model to the way ideas and political gestures spread in the twenty-first century. Hooliganism, like v...

This paper studies The Act of Killing as an unruly art activist – artivist – intervention in the contemporary aftermath of the 1965 military coup and genocide in Indonesia. The Act of Killing notoriously films Anwar Congo and his death squad friends reenacting their killings as scenes from Hollywood film genres. The film confronts an ethical dilemma between commemorating the victims and telling the story of the genocide, and situates this dilemma in a complex participatory ‘documentary ecosystem’. The paper argues that the genocide emerges as ‘difficult heritage’ in the merging of the reenactments, the killers' attempts to remain victors and the participatory documentary ecosystem. The reenactments generate affective conflicts, in which the killers become troubled indexes of themselves. In the reenactments, the rhythms of the killers' past are confronted with rhythms of the participatory documentary ecology of, what Lefebvre refers to as, presence. Ultimately, it is argued that the artivist strategy of Th...

Le mouvement du Park(ing) Day propose de transformer une place de stationnement en un espace vert, ludique artistique et citoyen pour une journée. Créé en 2005 par le collectif REBAR de San Francisco et transformé en rendez-vous évènementiel annuel, Park(ing) Day est aujourd’hui une manifestation internationale qui s’appuie sur un large réseau de militants locaux. À partir d’études de cas portant sur Paris, Lille, Bruxelles et Montréal, cet article interroge le processus de labellisation du mouvement à l’échelle globale et questionne aussi les incidences de cette labellisation sur les pratiques militantes. L’institutionnalisation du Park(ing) Day mettrait ainsi en valeur une forme contemporaine d’activisme « édulcoré » qui se veut moins conflictuelle., The movement of Park(ing) Day proposes to transform for a day a parking spot into a green, artistic, recreational and citizen space. Created in 2005 by the group REBAR in San Francisco the event is now an annual and international appointment, which relies on a wide network of local activists. From case studies in Paris, Lille, Brussels and Montreal, this article examines the global process of labeling of this movement and also questions the implications of the labeling on the activist practices. The institutionalization of Park(ing) Day illustrates a contemporary form of “sweetened” activism, which means less conflict.

This paper investigates how utopia is a recurring term in the contemporary art world. The spread of collaborative relations - through art collectives, artistic residences, artivism - and the valorization of these practices by institutions afterwards is a frequent process in the art world today. In this paper I will discuss the discourse produced by artists, curators and theorists, thinking if these artistic practices in the world of contemporary art can work as a representation of the way in which contemporary culture has established its relationship with time and space. The hypothesis that I sustain here is that we live in a scenario where the art world valorizes collective artistic experiences that are associated with everyday aesthetics and afterwards classify it as a new utopia. A new temporality seems to emerge in the present culture, along with this, different utopian discourses rise in art. This type of art places itself as the utopia of the everyday life, constructed for the present time in the urban space. Thus, the focus of this paper is to make a brief theoretical study on contemporaneity which points to important changes in the way in which individuals relate to everyday experience, narrative and memory, in order to understand the recent transformations in the world of contemporary art.Keywords: contemporary art, daily life, utopia, art collectives.

Resumo Este artigo se debruça sobre recentes movimentos, constituídos nas cidades do Rio de Janeiro e de São Paulo, que constroem uma narrativa em que performances e instalações vêm ganhando espaço dentro e fora das instituições como formas de atuação política, num crescente processo de “artificação” da esfera pública e politização da arte. Argumentamos que o fracasso da fusão arte e vida tão debatido por Peter Bürger parece ter novos desdobramentos. Mais do que a crítica política à instituição, o que parece estar em jogo é a incorporação da política como terceiro termo capaz de efetivamente conferir novo lugar à arte na esfera pública. Ações artísticas estão sendo incorporadas pelos militantes nas ruas e ações políticas estão sendo apropriadas pelas instituições museais. Dessa forma, nossa hipótese é de que em junho de 2013 inaugura-se no Brasil um movimento de transformação da experiência artística em elemento político. Abstract This article aims to discuss recent movements, forged in Rio de Janeiro and São Paulo, that build a narrative in which art performances and installations appear both in and out of art institutions as forms of political action, developing growing processes of artification of the public sphere and the politicization of art. We argue that, perhaps, the failure of the avant-garde project in merging art and life, as discussed by Peter Bürger, can still have further developments. More than institutional critique, the new phenomenon encompasses politics as a third term that enables art to play a new role in the political arena. Artistic actions are being incorporated by militants in the streets and political acts are being appropriated by museum institutions. Thus, our hypothesis is that June 2013 marks the start of a transformational movement in Brazil: artistic experience as political element.

Submitted by LUCAS FARINELLA PRETTI (lucaspretti@gmail.com) on 2017-08-21T12:34:05Z No. of bitstreams: 1 PRETTI-Lucas_Poeticas-do-comum_dissertacao_2017.pdf: 113580276 bytes, checksum: 24deea22c23370d4dbbc6c002a47181f (MD5) Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-08-23T14:35:35Z (GMT) No. of bitstreams: 1 pretti_lf_me_ia.pdf: 113580276 bytes, checksum: 24deea22c23370d4dbbc6c002a47181f (MD5) Made available in DSpace on 2017-08-23T14:35:35Z (GMT). No. of bitstreams: 1 pretti_lf_me_ia.pdf: 113580276 bytes, checksum: 24deea22c23370d4dbbc6c002a47181f (MD5) Previous issue date: 2017-06-29 Este trabalho analisa o conceito de commons digital, originado no campo da cibercultura, no contexto de ações artísticas produzidas nos últimos anos na cidade de São Paulo. Valendome principalmente das teorias de Antonio Negri, Nicolas Bourriaud, Guy Debord e Gilles Lipovetsky, parto da retomada do “comum” como valor intrínseco à sociedade informacional, sigo com sua análise nos campos da arte pública e artemídia para, enfim, classificar cinco aspectos das poéticas do comum (p. 118), a partir de três modelos de casos: BaixoCentro (2012), Pimp My Carroça (2012) e Piscina no Minhocão (2014). Por fim, apresento os primeiros resultados da ação Terrenos Apaixonantemente Objetivos, que aplica a ideia do comum à deriva situacionista, e detalho a concepção e desenvolvimento do Derivoscópio, obra integrante da ação, um aparato vestível construído com hardware e software livres. This work analyzes the concept of digital commons, originated in the field of cyberculture, in the context of artistic actions produced in the last years in the city of Sao Paulo, Brazil. Based primarily on the theories by Antonio Negri, Nicolas Bourriaud, Guy Debord and Gilles Lipovetsky, I start from the resumption of the “common” as an intrinsic value to the Information Society to proceed with its analysis in the fields of Public Art and New Media Art. Then, I classify five aspects of the poetics of the common (p. 118), based on three case models: BaixoCentro (2012), Pimp My Carroça (2012) and Piscina no Minhocão (2014). Lastly, I present the first results of the artwork Objective Passional Terrains, which applies the concept of the common to the situationist drift, detailing the design and development of the Driftscope, a wearable apparatus built with free hardware and software, as part of that artwork.

International audience; In the political context of the European “refugee crisis”, what role does art, and in particular artivism, play in disrupting spatial and political segregation of migrants? Artivism –activism through art and by art- brings together very diverse forms of creations which share the political purpose of social change. In this article, I intend to present creative experiments which all bring into play questions of unequal political rights, in relation to migrants and citizens in European cities. First, I analyse the role that the urban space plays in contemporary artivism linked to migrations. Subsequently, I propose to lay out a corpus, which consists of an exploratory typology of artivist creations dealing with political rights in cities. Drawing on the analysis of several curatorial artivist platforms, I identify and document artivist creations (signs, architectural interventions, performances) that borrow from art, activism and social sciences, to disrupt urban and political segregation of migrants. The study concludes that artivist works may have a practical potential for political change and urban transformation, when they are ephemeral and “ordinary”, disrupting the materiality and representations of everyday urban realities.

Existe um dominante enquadramento da arte que limita o seu impacto social com base em critérios definidos e reproduzidos pelas elites culturais. As performances artivistas podem subverter essas relações de poder uma vez que incorporam a dissensão simbólica de forma interventiva no real. Possuem um potencial transformador — individual e coletivo — que alia a estética a uma ética e aproxima a arte à sociedade. Dentro dessa lógica, numa rotura de limites disciplinares entre arte, política e antropologia, desenvolvi a troika artivista OS NOSSOS SONHOS NÃO CABEM NAS VOSSAS URNAS, constituída por livro (Ensaio de Artivismo - Vídeo e Performance) + videoinstalação (exposta no MNAC - Museu do Chiado) + performance em 3 Actos (que começou com a ocupação artivista do MNAC - Museu do Chiado e se expandiu ao MNAA e ao Palácio Nacional da Ajuda, sede do poder público da Cultura em Portugal). O artigo apresenta a perspetiva autoral de todo um laboratório artístico e político onde se criaram formas artísticas que permitiram obter uma voz na esfera pública, constituindo os seus participantes em atores políticos de contestação ao status quo. Ao longo do texto revela-se como foi vivida a experiência in loco, demonstrando-se como a arte pode empoderar as pessoas e como o corpo é o medium mais democrático e universal para o executar. Após um profundo processo de questionamento do sistema das artes chega-se inevitavelmente a um questionamento do próprio lugar do artista na sociedade contemporânea. There is a dominant framework of art that limits its social impact based on criteria defined and reproduced by cultural elites. Artivist performances can subvert these power relations since they incorporate symbolic dissolution in an intervening way in the real. They have a transforming potential - individual and collective - that combines aesthetics with ethics and brings art closer to society. Within this logic, in a rupture of disciplinary limits between art, politics and anthropology, I developed the artivista troika. OUR DREAMS DO NOT FALL IN YOUR URNAS, consisting of book (Artivismo - Video and Performance) + video installation (exhibited at MNAC - Museu do Chiado) + performance in 3 Acts (which began with the Artivist occupation of the MNAC - Chiado Museum and expanded to the MNAA and Ajuda National Palace, headquarters of the public power of Culture in Portugal). The article presents the author's perspective of an entire artistic and political laboratory where artistic forms were created that allowed to obtain a voice in the public sphere, constituting its participants in political actors of contestation to the status quo. Throughout the text it is revealed how experience was lived in loco, demonstrating how art can empower people and how the body is the most democratic and universal medium to execute it. After a deep process of questioning of the art system, we inevitably come to question the artist's own place in contemporary society.

The discursive transgression of street art can be expressed in various spaces. In the street for a first appearance, but the coverings on the social networks give new spatiality and temporality to a work, they now inscribe it in duration as well as in a new "effect of meaning". Moving from an urban wall to a sociodigital wall, subversion commits to the constitution of a community around a thematic or a more or less politicized center of interest. Egypt in 2010 sees street art suddenly appearing in its streets and spreading like wildfire on the sociodigital networks from the insurrectional uprising of January-February 2011.From this observation, it will be necessary to study the contribution of the social media mediation of street art, taken over by activist communities, to incite political collectives to an action. This work of thesis will try to verify to what extent these collectives are instituted in a political public demanding the fall of a political regime as well as the establishment of a civil and democratic power. A pragmatist approach will combine a deweyian "theory of action" with a Peircian semiotics in order to observe the actions of a political public. These are aroused by media devices, which include street artivist images in their speeches, generating victimary and martyrological mythographic narratives., La transgression discursive que constitue le street art peut s’exprimer dans divers espaces. Si les œuvres apparaissent tout d’abord dans la rue, leurs reprises sur les réseaux socionumériques leur octroient de nouvelles spatialité et temporalité ; elles sont alors non seulement inscrites dans la durée, mais également intégrées dans un nouvel « effet de sens ». Passant d’un mur urbain à un mur socionumérique, cet acte subversif engage à la constitution d’une communauté autour d’une thématique ou un centre d’intérêt plus ou moins politisé. L’Egypte voit le street art soudainement apparaître dans ses rues et se répandre comme une traînée de poudre sur les réseaux socionumériques dès le soulèvement insurrectionnel de janvier-février 2011. A partir de ce constat, il s’agit d’étudier la contribution de la médiation socionumérique du street art, prise en charge par des communautés activistes, à un agir des collectifs politiques. Ce travail de thèse a pour principal objectif de vérifier dans quelle mesure ces collectifs s’instituent en un public politique revendiquant la chute d’un régime ainsi que la mise en place d’un pouvoir civil et démocratique. Une approche pragmatiste, associant une « théorie de l’action » deweyienne à une sémiotique peircienne, est mise à l’œuvre afin d’observer les actions d’un public. Celles-ci sont suscitées par des dispositifs médiatiques, dont les auteurs insèrent dans leur discours des images street artivistes, générant des récits mythographiques victimaires et martyrologiques.

‘Man is Space: Vitic Dances’ is a multiyear community art project in a 10-storey condominium building in Zagreb, Croatia. Built by the architect Ivo Vitic, the building, considered a masterpiece of modern architecture, and registered as a national monument is now in a deteriorated state that threatens the lives of its 256 inhabitants. The project started in 2003 when Croatian artist Boris Bakal (Shadow Casters) moved into the building and became deeply acquainted with its history, its tenants and their everyday hardship. The artist aimed to raise the awareness of the tenants and local community to restore this iconic building though a complex interdisciplinary endeavor that combined permanent artistic and social interventions and programs, in and around the building. This ‘artivism’ project re-created and socialized a commonly shared space through intensive artistic presence by unifying tenants to collaborate for its preservation. It allows us to move away from a notion of the building as a whole to a not...

[EN] It bets on the field of living and research that focuses on artistic experimentation through "risastencia" (the humor of all colors and flavors), the game, the Do It yourself (DIY), the agitation and collaborative practices of connected multitudes, as strategies of insurgency or, if not, at least, resistance and popular survival. Challenge to defend the laughter that organizes the rage ... or not, why, and if that rage in the end only remains “datatyped” in the walls of cyberspace? Let us defend at all costs the non-privatization and liberalization of our historical and imaginary memory. Let us be activists committed to free culture and to the idea of culture as the collective construction, as counter-history, to practice a culture of opposition. Eternal life for the public domain! Let's bet for a life worthy of being lived, by María Zambrano, for the organic file of the internet and the audiovisual "detritus" that surrounds us as tools of cultural development, and for the need to educate and investigate in the hacking and recycling of our imaginaries, to transform us into more free, critical and creative beings. Let's be on the streets and with the Internet of things or as O'Reilly calls it, the web finding the world. It is up to us to teach people who are aware and sensitive to what is happening, adaptable to convulsive changes and who respond creatively, ecologically and ethically to the problems of our time., [ES] Apuesta en torno al ámbito del vivir y del investigar que se centra en la experimentación artística a través de la “risastencia” (el humor de todos los colores y sabores), el juego, el Do It yourself (DIY), la agitación y las prácticas colaborativas de las multitudes conectadas, como estrategias de insurgencia o, si no, al menos, de resistencia y supervivencia popular. Desafío de defender la carcajada que organiza la rabia... o no, ¿por qué, y si esa rabia al final sólo queda datificada en los muros del ciberespacio? Defendamos a ultranza la no privatización y la liberalización de nuestra memoria histórica e imaginarios. Seamos activistas comprometidos con la cultura libre y con la idea de cultura como construcción colectiva, como contrahistoria, para practicar una cultura de oposición. ¡Vida eterna al dominio público! Apostemos por unas vidas dignas de ser vividas a lo María Zambrano, por el archivo orgánico de internet y el “detritus” audiovisual que nos rodea como herramientas de desarrollo cultural, y por la necesidad de educar e investigar en el hackeo y reciclaje de nuestros imaginarios, para así transformarnos en seres más libres, críticos y creativos. Seamos en las calles y con el Internet de las cosas o como la denomina O’Reilly, la web encontrando el mundo. Nos corresponde enseñar a personas conscientes y sensibles con lo que ocurre, adaptables a los cambios convulsos y que puedan responder de forma creativa, ecológica y ética a los problemas de nuestro tiempo.

This study explores three documentary projects from Turkey, namely Proudly Trans in Turkey (by Gabrielle Le Roux, 2012), My Child (by Can Candan, 2013), and Trans X Istanbul (by Maria Binder, 2014). Attempting to make visible various spaces and formations of LGBTQ activism in Turkey, these collaborative projects can be considered as practices of screen activism that critically reflect on their own circulation, spectatorial address, ethnographic accent, and documentary aesthetic. Attempting to contest modes of the transnational gaze which reifies the saviour discourses of the Gay International and its globalised imperatives of liberation and pride, this discussion examines the extent to which the regional complexities of intersectional LGBTQ activism are compromised by the investment in these activist subjects’ global humanitarian value and international intelligibility. Questioning the ways in which these documentaries tackle their spectatorial address as well as the global and local complexities of sexual politics, this study aims to demonstrate how various forms/styles of documentary could contest, negotiate, and reinvent a transnational gaze that critically engages with the ethnographic constructions of sexuality, community, identity, and nation.

This chapter sheds light on the experiences of immigrants criminalised by the immigration system in the USA. As the media perpetuates a discourse of immigrants as dangerous and threatening to a sanitised American way of life, the aim of this chapter is to focus on the often forgotten stories of people left out of the immigrant right’s agenda and often the main targets of punitive legal measures. At the centre of the chapter is ARTivism – activism through art. Inspired by the author’s film, Chupacabras: The Myth of The Bad Immigrant, undocumented immigrants in California were encouraged to take selfies with a chupacabras mask and stand up to dehumanisation and criminalisation of immigrants, by taking ‘selfless selfies’ and using the hashtags #NotYourChupacabras and #YourChupacabras.

La règle des 4 D dénoncée par Duncan McCue « Drumming, Dancing, Drunk or Dead » donne à voir les indigènes au travers de préjugés collectifs discriminants. Pour autant des initiatives artistiques se distinguent sur la scène culturelle internationale et luttent avec force contre ces raccourcis cognitifs. Ainsi, le festival colombien de la confraternité Amazonienne met à l’honneur les traditions ethnoculturelles indigènes et offre une tribune de choix à la nation et aux pays participants du bassin amazonien. Plusieurs artistes, leaders d’opinion, militants associatifs de la communauté huitoto y interviennent régulièrement avec pour objectif principal de se représenter en tant que sujet amérindien sans verser dans les stéréotypes, d’abandonner les idées reçues autour du folklore indigène et de découvrir par une expérience interculturelle l’Amazone et ses multiples facettes. Cet article propose donc par une approche netnographique d’analyser la façon dont les membres de cette communauté utilisent le web pour valoriser leur culture indigène et de comprendre comment la technologie est employée au service du changement socio-culturel (Ceballos, 2013). Nous appuyant essentiellement sur trois études de cas, nous souhaitons étudier dans un premier temps le rôle joué par les acteurs-clés de la communauté huitoto dans la déconstruction des processus de stéréotypisation qui s’attachent à l’image de la culture et du folklore indigène. Puis, nous souhaitons dans un deuxième temps, analyser les ressorts et dispositifs communicationnels qu’ils mobilisent dans leurs mécanismes de reconstruction et de valorisation culturelle. Enfin nous souhaitons comprendre la façon dont les huitotos font émerger une nouvelle forme d’artivisme médiatisé sur la toile à travers la création artistique, pour faire prendre conscience des problèmes culturels, sociétaux, économiques et politiques de la communauté. The indigenous artivisme : new web practicesThe 4D’s rule denounced by Duncan McCue, "Drumming, Dancing, Drunk or Dead" gives to see the natives through discriminating collective prejudices. Yet artistic initiatives stand out on the international cultural scene and struggle forcefully against these cognitive shortcuts. For example, the Colombian festival of the Amazonian Confraternity celebrates indigenous ethno-cultural traditions and provides a forum of choice for the nation and the participating countries of the Amazon basin. Several artists, opinion leaders and associative activists from the huitoto community regularly intervene there with the main objective of representing themselves as Amerindian subjects without overturning into stereotypes, abandoning preconceived ideas about indigenous folklore and discovering by an intercultural experience the Amazon and its multiple facets. This article proposes through a netnographic approach to analyze how the members of this community use the web to enhance their native culture and to understand how technology is used for socio-cultural change (Ceballos, 2013). Based essentially on three case studies, we first wish to study the role played by the key actors of the huitoto community in deconstructing stereotyping processes that focus on the image of indigenous culture and folklore. Then, we wish to analyze the springs and communication devices that they mobilize in their mechanisms of reconstruction and cultural valorization. Finally, we want to understand how huitotos make a new form of mediatized artivism on the web through artistic creation, in order to raise awareness of cultural, societal, economic and political problems of the community. El artivismo indigena : nuevas practicas del webLas reglas de las 4D denunciadas por Duncan McCue « Drumming, Dancing, Drunk or Dead » representan a los indígenas a través de prejuicios colectivos discriminantes. Sin embargo algunas iniciativas artísticas se destacan en la escena cultural internacional y luchan con fuerza contra estos atajos cognitivos. De este modo, el festival colombiano de la confraternidad amazónica promueve las tradiciones etnoculturales indígenas y proporciona una tribuna de predilección para la nación y para los países participantes de la cuenca amazónica. Varios artistas, lideres de opinión, militantes asociativos de la comunidad huitoto intervienen regularmente con el objetivo principal de representarse como sujeto amerindio sin caer en estereotipos, abandonando las ideas preconcebidas sobre el folclor indígena y descubriendo a través de una experiencia intercultural el amazonas y sus múltiples facetas. Este artículo propone mediante un enfoque netnográfico analizar el alcance del festival de la confraternidad amazónica, para reflexionar sobre el fenómeno que suscita en la web y entender cómo la tecnología es empleada al servicio del cambio sociocultural (Ceballos, 2013). Nos apoyamos esencialmente sobre tres estudios de caso, deseamos estudiar en un primer tiempo el papel de los diferentes actores involucrados de la comunidad huitoto en la deconstrucción de la estereotipización que se aferran a la imagen de la cultura y al folclor indígena. Después, queremos en un segundo tiempo, analizar los elementos y dispositivos comunicacionales que ellos movilizan en los mecanismos de reconstrucción y de valorización cultural. Por último, deseamos comprender la manera en la que los huitotos hacen emerger una nueva forma de artivismo mediatizado en la red a través de la creación artística, para hacer tomar conciencia de los problemas culturales, sociales, económicos y políticos de la comunidad.

Collaborative artistic-activist (or artivism) practices can bring strong articulations of lived experiences regarding processes of oppression and empowerment in contemporary societies, from a situated perspective, leading to the building of effective strategies for collective organised action towards social change and justice (Sholette, 2011; Love and Mattern, 2014). Through analysing the collaborative works of trans* and intersex activists for human rights in the Global South with artist for social justice Gabrielle Le Roux, this Article will explore effective/affective horizontal engagements through artivism working methods. These collaborative projects gravitate toward an exchange of gazes. As Le Roux recounts, it is about “looking into the eye” of people as a dispositive to recognise them as the main teachers and experts of their lived experiences. This Article will also enquire if such situated interactions may lead towards processes of social awareness, intercultural dialogue and cultural ex...

The work of Chantal Mouffe is seldom discussed in the theoretical parlance of post-colonial studies. Although there are notable recent critical interventions in the domain of post-colonial theory, ...

Sherry Simon (Ed.).; International audience; Myriam Suchet and Sarah Mekdjian introduce practices of “artivism” as a way of challenging received ideas about the city and of revealing the potential of translation to show how meaning is created in the city. Forms of artivism (art + activism) in the urban environment call into question the very definition of translation. In a style that foregrounds their very processes of research, highlighting the advantages of strategic, perhaps temporary alliances among disciplines, Suchet and Mekdjian test vocabularies one against the other, in a way performing the act of translation as they define it: as a way to create new modes of speech that undermine the limits of naturalized language. The interval, the “battements” are defined as events in space that are disruptive. Here there is an explicit displacement in the meaning of translation itself – introduced not for its potential to effect the transfer of ideas from one space to another but rather to expose the spaces between languages, to expose the fictitious borders of language as such. The interval created by urban artivist translation must be understood, in both its temporal and spatial dimensions, as a disruptive event. By combining the sociological, urbanistic idea of the interstice with the stylistic, enunciative notion of the figural, Suchet and Mekdjian redefine translation as an interruption of discursive practices. Translation becomes a mode of critical thinking, with the goal of identifying urban practices that empower citizens to question their environment. Among the activities generated by this “translation hypothesis” is a project of city-mapping described by Mekdjian, which attempts to account for the experience and angle of vision of the refugees.

En este artículo defiendo una recuperación del Trabajo Comunitario para el contexto actual. En primer lugar propongo una noción de comunidad situada en «lo político» y una propuesta para el Trabajo Social Comunitario centrado en las prácticas creativas y artísticas. En segundo lugar abordo las prácticas de resistencia y las alternativas de cambios, que en cada caso para el Trabajo Comunitario las he centrado en el Artivismo y en el Crowdfunding. Para cada una de ellas presento un caso concreto que de cuenta de su implicancia en la emergente reorganización capitalista y en el lugar que debe ocupar el Trabajo Social sino quiere quedar fuera de la historia y como posibilidad de constituirse como agente de cambio.