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This article investigates former asylum seeker, Kurdish-Iranian Behrouz Boochani's efforts to decolonize truth-telling, especially in his prize-winning novel, No Friend but the Mountains: Writing from Manus Prison, in which he theorizes direct links between the colonization of Indigenous Australians and Australia's treatment of refugees. No Friend but the Mountains: Writing from Manus Prison both has borders as a theme and crosses borders by utilizing disparate literary forms to great effect. I explore truth-telling in Boochani's work through the lenses of border thinking, as theorized by Gloria Anzaldúa and Walter Mignolo, and heterotopia (other-place), as theorized by Michel Foucault. Boochani describes himself as 'A shepherd who reads Foucault', and states that it is possible to 'examine Manus Prison using a Foucauldian framework and apply his philosophical critique of the prison, the mental asylum and psychology.' Border and heterotopic thinking both provide powerful tools to critique institutionalized power structures and explore understandings and approaches towards decolonization. [ABSTRACT FROM AUTHOR]

In the present paper, we draw upon our research, entitled Puppy Philms, to guide researchers who are interested in queering cellphilming methodologies. In this context, "queering" refers to the process of challenging and disrupting heteronormative roles and perspectives within research practices. We argue that taking a queer poststructural approach to virtual cellphilming helped us shift this project away from typical academic relations of power, towards participant-driven research as activism. In emphasizing flexibility, reflexivity, a desire for partnership and community building, we found queer communication to be a mechanism through which we could shift power and drive levels of engagement. In considering the continued stigma associated with pup play, queer poststructuralism theories allow cellphilms to disrupt traditional norms, both societal and academic norms. We found that cellphilming is particularly suited for the study of queer eroticism because participants can control the narrative, deliver a more nuanced understanding of the experiences portrayed, and claim legitimacy through association with an arts-based participatory research project. [ABSTRACT FROM AUTHOR]

Drawing on fieldwork on the emerging radical street performance culture in Nigeria, I reflect on the implications of Tejumola Olaniyan's approach to popular culture and political activism, with a particular focus on his profound and provocative analysis of Fela Anikulapo Kuti's Afrobeat. In Arrest the Music!, Olaniyan adopts a cultural-materialist approach to locate Fela's Afrobeat in the postcolonial conditions that generated its aesthetics and politics. Rather than concentrating exclusively on the oppositional messages in Fela's lyrics, Olaniyan excavates the "antinomies" structuring Fela's music practices and reads these antinomies as embodiments of an oppressive yet "enchanting" postcolonial modernity. In the context of Olaniyan's readings, I interpret the production of a radical street performance culture in Lagos in relation to the extensive processes of neoliberal restructuring taking place in urban Nigeria, and I examine in which ways postcolonial antinomies continue to structure contemporary artistic practices. This paper calls for a more nuanced reading of the politics of activist art in contemporary Africa, and especially the agonistic entanglements of local artistic activism and the neoliberal agendas forced upon it. [ABSTRACT FROM AUTHOR]

Copyright of Políticas Culturais em Revista is the property of Politicas Culturais em Revista and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Other Modernities / Altre Modernita / Otras Modernidades / Autres Modernités is the property of Altre Modernita and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Mushrooming opposition to coal mining and transportation in the United States (US) connects with both environmental justice and climate justice movements. Artistic expressions are part of the strategic toolkit of these movements. Art’s capacity to foster cultural, cognitive and psychological changes is amply recognized by academics as well as by public in general. Nevertheless, the theoretical question of how art is linked to activist strategies and to socio-spatial transformations in environmental conflicts remains unexplored. This paper contributes to filling this gap by examining the emblematic struggle to stop the construction of a coal-export terminal in Oakland, CA. Our data includes 32 in-depth interviews of activists, artists and legal experts linked to the conflict surrounding this coal-export terminal. Non-participant observation and secondary data collection helped to contextualize the interviews. The results offer a timeline of the movement, a map of artistic expressions, and network analyses around the effects of environmental artistic activism. We demonstrate that creative activism has critical relevance for facilitating engagement, education and outreach of the anti- coal movement. Arts and its spatial impact benefited the movement by expanding its scale and making it more inclusive regarding demographics, including particularly women and youth of color. The use of the arts raised environmental and political awareness and enhanced public participation in decision making. The paper connects the literatures of environmental justice, environmental humanities and human geography. We contribute to the yet underdeveloped dialogue discussing the capacity of art to influence socio-ecological structures and socio-spatial dynamics in cases of environmental justice conflict.

The ubiquitous use of artworks (e.g., paintings, music, films) in environmental activism has been shown to trigger specific cognitive processes as well as changes in personal values and behaviours. There is less understanding of whether (or how) gender-differentiated environmental claims and gender-transformative initiatives are voiced and promoted through art and cultural expressions. Using network analysis, this paper comprehensively reviews ninety-eight years of peer-reviewed literature on gender and environmental activism. We identify six avenues of gendered artistic activism (or ‘artivism’) on environmental issues that communities have pursued in the past. We present a non-prescriptive description of each avenue based on key references in the literature. A gendered lens on artistic activism makes visible the power of different groups to act, be they women, men, LGBTQ or other collectives, their chosen (or available) scopes of creative action when engaging with environmental protection and their thematic foci. A highlight of the study is the significant presence of younger demographics, including children and students in environmental artivism. Finally, we discuss how gendered artivism expands our understanding of environmental action, putting our results in conversation with well-known current environmentalism(s).

Situated between the social studies of art and community psychology, in this paper we investigate the reception experience of the contemporary dance work "Otoño" by the independent group Cantorodado. We conducted a socio-semiotic analysis of the reception of different audiences from popular and marginal sectors of the Paravachasca Valley (Córdoba, Argentina), in the framework of a collaborative ethnographic research initiated in 2018. To do so, we analyzed the play "Otoño" and then, the experiences of reception. We identified that the play "Otoño" addresses different daily violence from polysemic scenic compositions, using a realistic and open code. We recognize different reception experiences that focus on the situations of aggression in the play "Otoño", configuring emotions such as "sadness", "anxiety" and "fear", and interpretations such as "domestic violence", "exorcism" and "horror movie". Thus, we observe a relationship between the aesthetic and political proposal of the play "Otoño" and the experiences of the participating audiences. Recognizing that contemporary dance functions as a field of restricted production in the region under study and is named as elite dance, the results found lead us to think, in the first place, of an articulation between popular and elite cultures. Secondly, recognizing an area of vacancy of this type of studies in the field of community psychology, we echo Martín Barbero's words regarding the need to investigate the cultural consumption of popular groups without saturating them with meanings. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The 2018 edition of the Sámi festival Márkomeannu elaborated a narrative about the future of both the environment and society by articulating fears of an oncoming apocalypse and hopes for Indigenous Sámi futures through a concept presented to festivalgoers via site-specific scenography, visual narratives, and performances. This essay, addressing the festival as a site of artistic activism, reveals the conceptual bases and cultural significance of the festival-plot in relation to Indigenous Sámi cosmologies, the past and the possible future(s) in our time marked by escalating climate change. I argue that Márkomeannu-2018, providing a narrative about the future in which, amidst the Western societies’ dystopic colonial implosion, Indigenous people thrive, can be regarded as an expression of Indigenous Futurism. Counterpointing 19th-century theories predicting the imminent vanishing of Indigenous peoples while positioning the Sámi as modern Indigenous peoples with both a past and a future, this narrative constitutes an act of empowerment. Sámi history and intangible cultural heritage constituted repositories of meaning whereas a folktale constituted a framework for the festival-plot while providing an allegorical tool to read the present.

This paper attempts to engage with the artistic activism of Ambedkarite feminists from Maharashtra. It tries to analyze some of the modes of their artistic engagement within the other forms of activism of Dalits in Maharashtra in particular and India in general. Drawing on Marathi sources, one of the core interests of the paper is to delve into the social-political worlds of women activists that propagate Ambedkar’s core principles of liberty, equality and fraternity. At the same time, the ways in which Dalit women reflect on the questions of caste, gender and patriarchy will be analyzed in the context of the field of artistic (re)production of culture as a counter culture to the mainstream culture of India. Cultural practices of Maharashtra will be analyzed as a departure from the conventional folklore readings in order to differentiate its structured dispositions, bodily nuances and so on. Distinct art forms and poetic engagements among the marginalized sections will be subjected to close reading as well, especially the genres of Ovi, Powadas, Jalasa, Buddhageet and Bheemgeet. It thus turned into the weapons of the Dalits to unleash their political tirade against the Brahmanic culture. Hence it creates spaces for ontological and epistemic investigations within the rubric of Dalit culture. Thus, the primary and secondary sources and narratives will be deployed while researching artistic activism of Ambedkarite women in the context of songs and poetic expressions. This paper tries to explore the artistic activism of Ambedkarite feminists from Maharashtra.

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La música tiene una capacidad particular de generar eco a partir de diversas prácticas sonoras que alimentan la acción colectiva. Por esto se ha constituido en uno de los repertorios con mayor resonancia dentro de las diferentes tácticas culturales empleadas para la movilización política y social. En el marco de la protesta social buscamos aquí comprender el rol de la música como lenguaje clave de las gramáticas de resistencia y transformación social, sus funciones, formas y afectos. Partiremos de la vinculación entre arte y política para luego profundizar en la trama sonora que se produce en medio de la protesta, hasta llegar a una lectura de la experiencia de la Segunda Línea, colectivo que surgió en el contexto de lo que se conoce como el estallido social de Colombia. Music has a unique capacity to create a resonance through various sound practices that feed collective action. For this reason, it has become one of the most important repertoires within the different cultural tactics used for political and social mobilization. Within the framework of social protest, we seek here to understand the role of music as a key language in the grammars of resistance and social transformation, its functions, forms and affects. We will first examine the connection between art and politics, and then delve into the weave of sound that emerges during the protest, until we reach a reading of the experience of Segunda Línea, a group that arose in the midst of what is known as the social outbreak in Colombia. A música tem a capacidade particular de gerar eco desde diversas práticas sonoras, que nutrem a ação coletiva. É por isso que se tem construído um dos repertórios com mais ressonância dentro das diferentes táticas culturais empregadas para a mobilização política e social. No cotexto da protesta social, queremos compreender o papel da música como linguagem essencial das gramáticas de resistência e transformação social, suas funções, suas formas e seus afetos. Pesquisaremos a vinculação entre arte e política para profundar logo na trama sonora que se faz no meio da protesta, até chegar à leitura da experiência da Segunda Línea, o coletivo que surgiu no contexto da eclosão social de Colômbia.

The contemporary art world is characterized by precarious and intermittent forms of employment such as subcontracting and freelancing. Non-paid work is also common in the arts sector either in the form of internships or uncompensated exhibiting, writing and curating. In this article we analyse subversion in the context of artistic activism as a resistance strategy against labour relations within contemporary capitalism. As a case study, we present a critical analysis of two works by artist Joshua Schwebel, Subsidy (2015) and Médiation Culturelle (2017-2018), which aimed to take advantage of the institutional exhibition context to not only raise awareness about hidden aspects of labour practices common among art institutions but also to create real change and empower workers. Taking into account capitalism’s adaptability and its undermining of traditional forms of resistance, we argue that artistic activism plays a crucial role in pursuing counter-hegemonic struggle. By analysing and comparing both projects we have concluded that subversion is used as the broader strategy, whereas disruption, dialogue and displacement are used as tactics. This research also establishes context as a fundamental element for artistic activism works and the necessity to adapt strategies to maximize possibilities of achieving social transformation.

Introduction to the issue Arts, Ontology and Politics. This text gives a survey of the articles included in the special issue Arts, Ontology and Politics and of the challenges that these articles have to deal with in approaching the central them.

“Let the Sirens Roar”: The Women’s Protests in Poland and the Artistic Response to the Backlash The ruling of the Constitutional Tribunal of 22 October 2020, which tightened the restrictions on reproductive rights in Poland and was adopted in the midst of the COVID-19 pandemic, sparked strong social opposition and massive demonstrations. The article focuses on artistic works accompanying these protests, providing a kind of visual commentary to them or, in other words, their visual “framework”. The discussion refers to the most characteristic iconographic materials, mainly posters, uploaded and shared by (mostly young) artists on their profiles on popular social media and specially created websites (such as Graphic Emergency). The content of this artistic “production” often refers to important moments in the recent history of Poland (the Solidarity movement), traditional symbols, and the imaginational sphere; however, to some extent, it also refers to the countercultural revolution of the late 1960s, especially to L’Atelier Populaire, established by students of Académie des Beaux Arts in Paris. The article proposes that the discussed posters be interpreted as a generational counterreply to the “backlash”, understood in accordance with the meaning given to that word by Susan Faludi in her classic 1991 study. „Niech wyją syreny”. Kobiece protesty w Polsce i artystyczna odpowiedź na „backlash” Orzeczenie Trybunału Konstytucyjnego z 22 października 2020 roku, ograniczające prawa reprodukcyjne w Polsce – przyjęte w środku pandemii COVID-19 – wywołało silny sprzeciw społeczny i masowe demonstracje. Tematyka artykułu zogniskowana jest wokół prac artystycznych towarzyszących owym protestom, stanowiących ich wizualny komentarz, innymi słowy: ich wizualną „oprawę”. W niniejszych rozważaniach odniesiono się do najbardziej charakterystycznych materiałów ikonograficznych, głównie plakatów, zamieszczanych i udostępnianych przez (przeważnie młodych) artystów na profilach w popularnych mediach społecznościowych oraz na specjalnie wykreowanych witrynach (jak np. Pogotowie Graficzne). Zawartość treściowa tej twórczej „produkcji” często odnosi się do ważnych momentów w najnowszej historii Polski (Solidarność), tradycyjnej symboliki i sfery wyobrażeniowości, a w pewnym względzie także i do kontrkulturowej rewolty późnych lat 60., zwłaszcza do L’Atelier Populaire założonego przez studentów paryskiej Académie des Beaux Arts. W artykule wskazano, iż omawiane plakaty można interpretować jako pokoleniową odpowiedź na „backlash” w takim rozumieniu, jakie nadała temu słowu Susan Faludi w swej klasycznej już rozprawie z 1991 roku.

As advocates for social justice, our sights have been stoically fixed on fighting against and challenging what is, be it systemic inequality, structural violence and injustice. Dismantling these systems of oppression are critical, but we have lost sight of the importance of imagining what could be. That is, what a future free from that oppression might look like, might feel like, might be like. Without this ability to imagine, we are unable to create new ways of being that do not perpetuate the injustice we are trying to fight against. The bringing together of Creativity and Activism has proved vital in allowing us to begin to imagine and enact what a more equal and just world might look like. This article explores how the Sex Workers Education and Advocacy Taskforce (SWEAT) in South Africa has been utilising creative methodology in their advocacy to advance the rights of sex workers. SWEAT has been committed to exploring and experimenting with creative methodologies which have been incorporated into strategising, organising, mobilising and advocating for the decriminalisation of sex work. These creative methodologies have resulted in some of the biggest successes in the struggle for the human rights of sex workers in South Africa. [ABSTRACT FROM AUTHOR]

The paper explores the politics of (dis)assembling borders within Europe. It examines the performance of the Berlin-based artist collective Zentrum für Politische Schönheit (Center for Political Beauty, ZPS) in 2014, in which artist activists temporarily removed white border crosses commemorating death at the former Berlin Wall. With this unauthorized displacement, ZPS sought to problematize ongoing violence and death at European borders. Via a three-part analysis of the performance Erster Europäischer Mauerfall (First European Fall of the Wall), the paper outlines a political framework for understanding art around and against borders – contributing to accounts on border art and the politics of borders. Staged as critique against the official commemoration of the 25th anniversary of the Fall of the Wall, perceived by ZPS as festivalized and thus apolitical event, the multiple performance acts highlight material and emotional movements. They oscillate between past and present border death, commemorated and forgotten border objects, bodies, places. In particular, ZPS aimed to denounce (implicit) hierarchies regarding how and whose death at European borders is remembered via acts of (dis)assembling. By unsolicitedly (re)moving Berlin's border crosses (Act I), mobilizing over 100 activists to dismantle border fences and temporarily installing replica crosses at Southern EU borders and placing them in the hands of contemporary refugees (Act III), ZPS mobilized public concern about contemporary border politics and commemoration. The paper contributes to border studies that view borders as inherently complex and contingent symbolic, socio-spatial arrangements, which affect and are affected by objects, bodies, and policies that oscillate between contested absence and presence. Accompanied by controversial media coverage, the performance gathered (im)mobile bodies, moving objects, and multiple emotional responses about the what, where and who of Europe. Ultimately, politics of (dis)assembling unfold absence and presence to articulate mo(ve)ments of 'the political' as contestation against complacency and border violence. [ABSTRACT FROM AUTHOR]

This article explores the ways in which a series of artistic activism groups in the recent history of social protest in Argentina, including Mujeres Públicas, Fugitivas del Desierto and Serigrafistas Queer, linked to the feminist, lesbian and sex-dissident movements, occupied public space and social mobilizations through a set of visual devices and performative actions that can be thought of as forms of queer appropriation of childish imaginaries. Appealing to the critical resemantization of the hetero-reproductive economies inscribed both in the bodily choreographies of popular games and in the material life of the toys they used, these groups mobilized public images through naive affects such as cuteness, tenderness and joy to make visible, interrupt, and also divert the productive scripts of modern sex-politics and instituted notions of politics. --- Este artículo explora los modos en que una serie de grupos de activismo artístico en la historia reciente de la protesta en Argentina, entre ellos Mujeres Públicas, Fugitivas del Desierto y Serigrafistas Queer, vinculados a los movimientos feministas, lésbicos y sexodisidentes, ocuparon el espacio público, y las movilizaciones sociales, a través de un conjunto de dispositivos visuales y acciones performáticas que pueden pensarse como formas de apropiación queer de los imaginarios infantiles. Apelando, entonces, a la resemantización crítica de las economías heteroreproductivas inscritas tanto en las coreografías corporales de los juegos populares como en la vida material de los juguetes que utilizaron, movilizaron imágenes públicas a través de afectos ingenuos como lo lindo, la ternura y la alegría para visibilizar, interrumpir y desviar los guiones productivos de la sexopolítica moderna y las nociones instituidas del acontecimiento político.

This introduction provides an overview of this Special Issue: 'Night Stories: Urban Narratives of the Migrant Lives in Europe', which originates from work undertaken within the collaborative HERA-funded research project 'Night spaces: Migration, culture and integration in Europe' (NITE). It argues that experiences and representations of the urban night are often overlooked in Humanities research. It contends that understandings of this overlooked dimension of the urban night can provide important and more nuanced insights into questions of migration. It surveys the collection of academic and artistic contributions to the Special Issue, which provides a transdisciplinary survey on the storytelling that emerges from diverse experiences of migration and their connections to the urban night. [ABSTRACT FROM AUTHOR]

Copyright of Slavia Meridionalis is the property of Polish Academy of Sciences, Institute of Slavic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The 2018 edition of the Sámi festival Márkomeannu elaborated a narrative about the future of both the environment and society by articulating fears of an oncoming apocalypse and hopes for Indigenous Sámi futures through a concept presented to festivalgoers via site-specific scenography, visual narratives, and performances. This essay, addressing the festival as a site of artistic activism, reveals the conceptual bases and cultural significance of the festival-plot in relation to Indigenous Sámi cosmologies, the past and the possible future(s) in our time marked by escalating climate change. I argue that Márkomeannu-2018, providing a narrative about the future in which, amidst the Western societies' dystopic colonial implosion, Indigenous people thrive, can be regarded as an expression of Indigenous Futurism. Counterpointing 19th-century theories predicting the imminent vanishing of Indigenous peoples while positioning the Sámi as modern Indigenous peoples with both a past and a future, this narrative constitutes an act of empowerment. Sámi history and intangible cultural heritage constituted repositories of meaning whereas a folktale constituted a framework for the festival-plot while providing an allegorical tool to read the present. [ABSTRACT FROM AUTHOR]

The emergence of the Ni una menos movement in 2015 marks the beginning of a new feminist momentum in Argentina and, more broadly, throughout the Latin American sub-continent. From then on, a young female generation of artist-activists took over public spaces in order to turn them into forums for citizen expression, participation and deliberation. Among the performances, graffiti and stencils, a particularly prolific mural production dresses various cities in the country, including those on the periphery. As a place for meetings and demands, urban spaces are being coloured, projecting a political renewal in favour of female emancipation. Nevertheless, the work of these women muralists remains on the fringes of artistic academism and cannot count on any real support from the public authorities. Therefore, in this article, we will try to demonstrate how the feminist mural aesthetics they deploy contribute, from regional spaces, to the enrichment of an (inter)national artistic activism.

This paper analyzes the issues surrounding the others’ representations in today’s visual culture related to the situations of displacement and forced migration in the Mediterranean Sea and the value given to images of social crisis Attention is paid both to images that are part of the contemporary media flow, specifically viral images and their circulation through networks, and to Western activist art practices. The concept of “necroimages” is proposed in order to understand the relationships that make it possible to see and not see certain images, who the subjects are represented in them and what role they play. When analysing the selected case studies, we ask ourselves to what extent the use of this type of images is appropriate for the representation of non-hegemonic subjects and how effective their visualisation can be for raising awareness and for the political demands that are pursued from the same artistic works and discourses. [ABSTRACT FROM AUTHOR]

Copyright of Estudos em Comunicação is the property of Labcom / Universidade da Beira Interior and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From the social sciences of the labor, it is a consensus to point out that the advance of work precariousness generates a challenge for the traditional trade union organizations, because of the segmentation it generates in the working class, in relation to their conditions and job demands, and for the difficulty in representing those workers who are working in unregistered and informal conditions. In this context, this paper aims to reflect on the new forms of collective action that young precarious workers establish in response to these limitations of traditional trade unionism to channel their struggles. Our hypothesis is that in the absence of access to traditional trade union representation and its formal mechanisms of negotiation and struggle, the precarious workers turn to alternative repertoires of action to give visibility to their struggles and install their demands in the political ground. One of these repertoires is artistic activism, which consists in the use of images, songs and performances as a channel for denouncing and protesting about their labor problems. It is on this unconventional trade union repertoire where we focus our reflection in this paper, which gain a great place in the recent mobilizations of young precarious people in Argentina. In qualitative methodological terms, we conducted a qualitative and comparative case study on three Argentinian organizations of young precarious workers who resorted to artistic activism in their protests, during the period 2005-2015, seeking to understand its emergence as a new trade union repertoire. [ABSTRACT FROM AUTHOR]

Over the past decade the Center for Artistic Activism has trained over 1000 activists and artists from around the world how to be more creative in their activist work and strategic in their artistic practice. Central to this training is the concept of Utopia. This article explains how Thomas More's Utopia was designed not as a plan of an ideal society, but as a prompt to stimulate the reader's own political imagination. It is argued that Utopia is essential for social movements, and can be used to demonstrate another world could be possible, as a means to critique the present society, as a method to generate new models of society, as a tool to orient movement towards a goal, and as a way to motivate others into joining the struggle for social change. The liabilities of the artistic activist use of dystopia are also discussed. [ABSTRACT FROM AUTHOR]

Since the end of the twentieth century an indigenous artistic movement has emerged in Mexico using the musical genre known as rap. This paper seeks to understand the way in which young indigenous people who emigrated to the city transmit and disseminate their values and ideologies through this genre. The results obtained from an analysis of the qualitative content of the songbook of the group "New Republic" refer to the way in which they participate in a political and social activism, with which they seek to rescue, reinforce and implant the roots o their ethnic identity, while they try to insert themselves fully into the globalized world in which they are immersed. [ABSTRACT FROM AUTHOR]

Partiendo de la premisa de que el arte no es neutro sino que refleja y transmite ideas y valores de la sociedad en la que es producido ¿qué ocurre con la producción, circulación, exposición y venta de las obras de artistas plásticas mujeres en una sociedad sexista?On the premise that art is not neutral but that reflects and transmits ideas and values of society in which it is produced ¿what happens with the production, circulation, exhibition and sale of works of visual artists, women in a sexist society?

O presente artigo introduz e contextualiza as primeiras manifestações feministas que compuseram o panorama artístico do final da década de 1960 até 1980. São analisadas as circunstâncias históricas (incluindo a história da arte) que facilitaram a ponte entre as esferas da arte e da política, bem como os problemas formais e estéticos que a prática artística ativista apresentou e sua recepção como movimento. Para tanto, nos basearemos no trabalho da artista norte-americana Barbara Kruger, que produziu obras fundamentais para a consolidação da arte feminista, abordando criticamente uma ampla variedade de temas relacionados à mulher (violência, aborto, identidade, papel social, estética). O conteúdo das obras de Kruger está em sintonia com importantes circunstâncias políticas e temas sociais contemporâneos à sua produção e estabelece relação direta com teorias feministas da época, permitindo uma análise do contexto artístico e sócio-político do período.The present article introduces and contextualizes early feminist artworks which emerged in the late 1960's up to the 1980's. It analyzes the historical circumstances which linked the artistic and social spheres, as well as the aesthetic and formal problems that came along with the artistic activist practice and its reception as a movement. The analysis will be based on the work of the North-American artist Barbara Kruger, who has produced fundamental pieces which consolidate feminist art. Kruger's work has a critical approach towards a large variety of subjects regarding women (violence, abortion, identity, social roles, aesthetics). The content of her work is engaged with important social matters and with the political scene at the period of its production, and it also bears a direct relation with the feminist theories of that period, reasons which allow for an analysis of both the artistic and the social-political contexts.

This article analyses the role of collectivization and participation and their configuration under the concept of Cultural Guerrilla that implied a socio-political commitment of artists in the 1960s. It discusses how the Cultural Guerrilla was understood by the artists and how it participated in the destabilization of the social (and political) system and in confronting the imperialist policies of the US. It, firstly, focuses on the development processes of a collective and participative action during that decade and its role for confronting the aesthetic model that was fostered by the US within their Cold War cultural politics. Secondly, the text approaches the exchanges of French-based artists and intellectuals with the revolutionary government of Cuba in 1967 during the organization of the Salón de Mayo in Havana, discussing, thirdly, their impact on the artists’ participation during the events of May’68 in Paris.