Through the use of various strategies including "urban interventions, utopian proposals, guerrilla architecture, "new genre" public art, social sculpture, project-based community practice, interactive media, service dispersals, and street performance." the primary material of social practice is person-to-person exchange, interaction, or participation. These situations, organizations and events can involve various media including photography, video, drawing, text, sound, sculpture, and performance art. Within the art making process, the practice emphasizes people in relationships to each other and their surroundings, "focusing on engagement and accountability between the audience and the artist"
Cairo Policy Journal Delves Into Art and Politics Hyperallergic The summer issue of the Cairo Review of Global Affairs mingles various aspects of the political ferment in the so-called Middle East and North Africa (MENA) region with the world of...
Nepali Artists on Socio-Political Dimensions of Art Huffington Post (blog) When asked to comment on his involvement with arts movement, Maharjan said, "Art should compel people to question. It definitely plays a major role in society and politics.
For the past eighteen months dLux Media Arts has been working with the Wagga Wagga community through the dLab National Program. Throughout the program the Wagga young people have been getting hands on with science, art and technology to create some stunning artworks showcasing traditional photographic printmaking to digital animation and video.
IDENTITY AND EQUITY Contemporary Australia and notions of multiculturalism and diversity at times are hindered by concepts of dualities such as ‘majority, minority or white and black’.1 Complex issues of identity marginalization experienced by Indigenous Australians are often reduced to what has become known as Indigenous and non-Indigenous. The limitation of two distinct terminologies risks perpetuating a counterproductive duality evident in contemporary Australia. For many people heritage informs a sense of self and place in society, and in Australia this is apparent through notions of the frontier, the arrival of British invaders and their history of ideas. However, as is well-known, settler societies wreaked havoc for traditional owners and had a rich and persuasive mythology that included deeply ingrained views of racial marginalization.
Third Text has established its key position at the critical interface of contemporary art practice and theory with specific focus on the impact of ‘globalization’. In its twenty-six year history the journal has created an archive of knowledge production to benefit artists, researchers and art historians worldwide. Third Text took a pioneering interest in the exclusionary zones of ‘centre’ and ‘periphery’ and challenged Eurocentric and ethnocentric notions inherent to aesthetic criteria that marginalized or neglected the work of culturally diverse contemporary artists. The journal moved on to develop its postcolonial discourse in the direction of institutional critique, and it now seeks to address the complex cultural realities that are emerging and competing for recognition in the globalized artworld. The crucial issue today is the critical appraisal of contemporary art in the context of this globalized artworld, without a centre, and yet one where the spectre of neocolonialism is ever present. What are the commercial and institutional forces that are shaping art history today? Who is deciding on the present ‘value’ of art and for which audience?
NEW YORK – July 15, 2014 – Iraq and Afghanistan Veterans of America (IAVA), the largest nonprofit organization for post-9/11 veterans and their families, today announced a plan to use new data and mobile tools to improve services to veterans and...
Artspace is the leading non-collecting, non-commercial organisation for contemporary art in New Zealand Aotearoa. Artspace is dedicated to commissioning and presenting new ideas in art and culture, as well as fostering critical debate and generating intellectual feedback. Artspace develops and nurtures artistic research at a national and international level through the production of an innovative programme of exhibitions and events, and risk-taking practices.
Fresh Arts Coalition Europe (FACE) is an international network of arts organisations that supports, promotes and informs on emerging, socially engaged, contemporary cross-disciplinary art forms. It covers fresh and ground-breaking practices such as creation in public space, site-specific arts, community and participatory projects, live art, physical and visual theatre, contemporary circus and puppetry. FACE makes accessible its expertise, facilitates the sharing of knowledge and knowhow, and encourages new partnerships within Europe and with the rest of the world. With 39 members from 20 countries, the network operates as a dynamic forum for ideas, experiences and professional exchanges, supporting its members and emerging creative professionals. FACE contributes to preparing a sustainable future for the promoters working in new artistic trends, by building bridges between its members, creating networking opportunities and enhancing the visibility of their good practices in order to encourage the making and the access to hybrid performing arts forms, created indoor and outdoor.
The editors of Creative Time Reports have opened submissions to receive editorial proposals for Feature and Dispatch articles from self-classified “artists”—writers, poets, filmmakers, photographers,...
We are living through a singular cultural moment in which the conventional relationship between art and the social world, and between artist and viewer, is being questioned and renegotiated. FIELD responds to the remarkable proliferation of new artistic practices devoted to forms of political, social and cultural transformation. Frequently collaborative in nature, this work is being produced by artists and art collectives throughout North, South and Central America, Europe, Africa and Asia. While otherwise quite diverse, it is driven by a common desire to establish new relationships between artistic practice and other fields of knowledge production, from urbanism to environmentalism, from experimental education to participatory design. In many cases it has been inspired by, or affiliated with, new movements for social and economic justice around the globe. Throughout this field of practice we see a persistent engagement with sites of resistance and activism, and a desire to move beyond existing definitions of both art and the political. The title of this journal reflects two main concerns. First, it indicates our interest in a body of artistic production that engages the broadest possible range of social forces, actors, discursive systems and physical conditions operating at a given site. And second, it signals a concern with the questions that these projects raise about the “proper” field of art itself, as it engages with other disciplines and other modes of cultural production.
High school students from the Macleay have been busy working with dLux Media Artist Yenny Huber to create works in photo-media, cyanotype printing, film, video and stop frame animation through the Macleay dLab Program. Kempsey is one of several regional locations for dLux Media Arts' innovative National dLab Program, which aims to work within communities to move individuals from participants to collaborators. Just as art and science further knowledge and progress culture, the dLab program allows young people to re-imagine their future. The Macleay dLab Program has provided capacity building in the Macleay Valley region by giving the local facilitators and young participants the necessary tools to explore their identity and their environment. Increasing the level of digital media skills through workshops that promote the use of new technologies in conjunction with science and art.
Jules Rochielle's insight:
I had the opportunity to work with DLux and Yenny Huber- a great community based artist from Australia!
Over the years, we have become used to experiencing works of art instead of merely watching them. As spectators, we are asked to become participants in what are considered to be artistic ‘situations’. The institutional and academic worlds propose terms such as ‘relational art’ or ‘community art’.2 A certain neo-situationist theoretical current introduces quotes of Guy Debord, Jean Baudrillard, Raoul Vaneigem and Michel de Certeau into the texts that deal with these practices. In considering these developments, Claire Bishop has spoken of a ‘social turn’ in contemporary art. However, in the introduction to her book Artificial Hells (2012), she states that this might actually be a return, and that such a return belongs to a certain tradition:
Berlin Art Week 16–21 September 2014 Opening: 16 September, 7pm Akademie der Künste Hanseatenweg 10 Berlin www.berlinartweek.de Facebook / Twitter / Instagram Share From 16 to 21 September, Berlin will...
Jules Rochielle's insight:
Excited to see that Trevor Paglen is part of this!!
Artist David Thorpe has been invited to contribute to the physical fabric of Hengrove in order to create a long-term legacy for the project. His commission will be both functional and curious and will become part of the infrastructure of Hengrove. Thorpe proposes to create a community orchard on the Severn Project site made out of large growing fruit and nut trees planted according to the floor plan of a cathedral, which will provide food in abundance as well as a grand meeting place for the community. The project will include long term involvement from the City of Bristol College Horticulture Department at South Bristol Skills Academy, allowing students to develop skills and receive training in growing, fertilisation, cross-pollination and tree shaping, within a unique yet local environment.
We invite artists—visual artists, performers, poets, photographers, filmmakers, fiction writers and musicians included—to submit proposals for a Creative Time Reports feature or dispatch to be presented in early 2015.