Social Art Practices
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Project Nanny Van Launch Events

When New Deal Labor Laws passed in the 1930s, Southern congressmen intentionally excluded domestic workers from receiving basic labor protections. Domestic workers were first granted minimum wage and overtime pay in the 1970s. Now, after protections for domestic workers did not improve for over 30 years, the tide is finally turning! New York passed the first landmark Bill of Rights in 2010 with other states soon to follow. Now, nannies, housekeepers, and caregivers across the country—along with employers and allies—are rallying for respect, recognition, and basic labor protections. Responding to this context, the NannyVan helps accelerate the movement for domestic workers’ rights. A public art + interactive media project created by Studio REV- (lead artist: Marisa Jahn) in collaboration with The National Domestic Workers Alliance, The NannyVan is a bright orange mobile design lab and sound studio that “accelerates the movement for domestic workers’ rights.” With its pull-out table, colorful design, bum-shaking NannyVan jams, and carpeted walls/sound booth, The NannyVan convenes workers and allies alike. The goal? To create enlivening and informative resources, from multilingual flyers to interactive mobile media such as Domestic Worker App, a public art and know-your-rights app (think Click and Clack on NPR’s “Car Talk” but for nannies) accessible by any kind of phone—even a pre-paid cell phone. After an inaugural journey through Arizona and California, The NannyVan makes its East Coast debut this spring with stops at worker centers and family-friendly cultural venues in NYC, Boston, and DC. NYC Launch Party at Downtown Community Television 87 Lafayette Street, NYC 10013 April 24, 2014, 7–10pm Featuring The NannyVan + Domestic Worker App alongside two other interactive media projects that draw attention to different facets of immigration: Immigrant Nation (director: Theo Rigby) and Who is Dayani Cristal? (director: Marc Silver; featuring Gael García Bernal). Event co-presenters: StoryCode and Fwd.us. Partners: The National Domestic Workers Alliance and the Street Vendor Project of the Urban Justice Center. NannyVan at Tribeca Film Institute Interactive April 26 Creative organizing workshop with The NannyVan at Rising Voices for a New Economy, the annual assembly of the National Domestic Workers Alliance in Washington, DC April 27 Boston launch at Massachusetts Institute of Technology May 8, 5–7pm followed by party Featuring three interactive media projects: The NannyVan + Domestic Worker App, Immigrant Nation, and Who is Dayani Cristal? Event co-presenters: MIT Open Doc Lab, MIT Center for Civic Media, StoryCode, and NuLawLab at Northeastern University School of Law Partner: The National Domestic Workers Alliance NannyVan workshop at Open Engagement Queens Museum, NYC May 16–18 The NannyVan + Domestic Worker App builds off of the success of a New York version of the app called New Day New Standard, which launched in May 2012 as part of a citywide campaign led by domestic worker groups following the passage of the state’s landmark Domestic Workers Bill of Rights. Each month since then, the hotline has received from 400 to 1,200 calls each month, and has been featured in BBC, GOOD Magazine, and parenting blogs; and presented at the White House, universities, and film festivals such as Tribeca Film. REV- (as in to rev an engine) is a nonprofit studio whose public art projects combine creativity, bold ideas, and sound research to address critical issues. We are a women and minority-led team of artists, techies, media makers, low-wage workers, immigrants, and teens producing work to impact the issues we face. Additional partners: Brazilian Immigration Center, Arizona State University Art Museum, Hand in Hand: Domestic Employer Association, National Employment Law Project, Community Development Project of the Urban Justice Center, The California and Massachusetts Coalitions of Domestic Workers Supporters: Tribeca Film Institute New Media Fund and the Ford Foundation, Rockefeller Foundation, Funding Exchange, North Star Fund, Franklin Furnace, MIT Community Service Fund, and MIT Council for the Arts
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Social Art Practices
This blog is dedicated to a variety of social art practices including: urban interventions, utopian proposals, guerrilla architecture, new genre, public art, social sculpture, project-based community practice, interactive media, service dispersals, service design, activism 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,, political art, design, eco-art and performance art.
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Love Toward the Queer&Trans Warriors of Orlando

Love Toward the Queer&Trans Warriors of Orlando | Social Art Practices | Scoop.it
I'm sending care and love on behalf of justseeds toward the queer&trans migrant warriors an
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Everything You Need To Know About The 100+ Anti-LGBT Bills Pending In States

Everything You Need To Know About The 100+ Anti-LGBT Bills Pending In States | Social Art Practices | Scoop.it
Nine states are afraid to let transgender people go to the bathroom.
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Palestinian learns to make recycled art in prison

Palestinian learns to make recycled art in prison | Social Art Practices | Scoop.it
A young Palestinian pays his way through university selling recycled art he learned to make while in an Israeli prison.
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No play—Feminist Training Camp

No play—Feminist Training Camp | Social Art Practices | Scoop.it
There is an urgent need to revive old and develop new feminist and anti-fascist strategies of resistance, survival, and collective action.
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California Dreaming and the Radical Imagination

California Dreaming and the Radical Imagination | Social Art Practices | Scoop.it
Although the phrase “radical imagination” is only now becoming common, the power it describes is hardly new.
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Generation Anthropocene: How humans have altered the planet for ever

Generation Anthropocene: How humans have altered the planet for ever | Social Art Practices | Scoop.it
We are living in the Anthropocene age, in which human influence on the planet is so profound – and terrifying – it will leave its legacy for millennia.
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Michael Gane's curator insight, April 19, 4:53 AM

Its terrible what we are doing to this beautiful world, everything is packaged to death, I recently saw three lads throw coke can's into the local canal, when I told them about their actions, they became abusive! I am a professional photographer, landscapes is one of my favourite types of photography, it worries me about the future for our children and the beauty around us. www.thefxworks.co.uk

 

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Call for Papers: Art and Political Ecology | Call for Papers: Art, Community, Society, Research, Creativity

Call for Papers: Art and Political Ecology | Call for Papers: Art, Community, Society, Research, Creativity | Social Art Practices | Scoop.it
The upcoming issue of Seismopolite Journal of Art and Politics will discuss art's relationship with political ecology: What role does art have to play | Call for Papers: Art, Community, Society, Research, Creativity
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Review: Joseph Beuys exhibition in London (Includes interview and first-hand account)

Review: Joseph Beuys exhibition in London (Includes interview and first-hand account) | Social Art Practices | Scoop.it
Joseph Beuys, the German Fluxus, happening and performance artist, is currently the focus of a retrospective exhibit at London's Tate Modern. Digital Journal takes a look.
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Hip-hop and rabbits: the youth group transforming Brussels' vacant buildings

Hip-hop and rabbits: the youth group transforming Brussels' vacant buildings | Social Art Practices | Scoop.it
Originally party organisers, Toestand are now working to bring communities together in parts of the city newly associated with terror attacks, but also subject to creeping gentrification.
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Art and Politics: The Power of Creativity and Activism Across the Globe

Art and Politics: The Power of Creativity and Activism Across the Globe | Social Art Practices | Scoop.it
Artistic projects of all kinds are so much a part of the fabric of our society/culture and continue to be tremendously inspirational, carrying a stron
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Brooklyn Museum: Panel Discussion: The Role of Culture in Social Change March 2016

Brooklyn Museum: Panel Discussion: The Role of Culture in Social Change March 2016 | Social Art Practices | Scoop.it
The Brooklyn Museum is an art museum located in the New York City borough of Brooklyn. At 560,000 square feet, the museum is New York City's second largest in physical size and holds an art collection with roughly 1.5 million works.
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10 things you need to consider if you are an artist – not of the refugee and asylum seeker community- looking to work with our community. | RISE: Refugees Survivours and Ex-detainees

10 things you need to consider if you are an artist – not of the refugee and asylum seeker community- looking to work with our community. | RISE: Refugees Survivours and Ex-detainees | Social Art Practices | Scoop.it
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Kissing my girlfriend at the Zodiac: gay bars are everything straight people take for granted

Kissing my girlfriend at the Zodiac: gay bars are everything straight people take for granted | Social Art Practices | Scoop.it
Arwa Mahdawi reflects on these sanctuaries that are like therapeutic spaces that patch up invisible wounds and provide unconditional acceptance
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A Different Kind of Social Network | Creative Time Reports

A Different Kind of Social Network | Creative Time Reports | Social Art Practices | Scoop.it
In this month's Editor's Letter, Marisa Mazria Katz talks with Grace McQuilten, founder of Melbourne's Social Studio, about her work helping recent immigrants find their footing and their creativity.
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Right to the city: can this growing social movement win over city officials?

Right to the city: can this growing social movement win over city officials? | Social Art Practices | Scoop.it
From the Taksim Square and Nuit Debout protests to bank takeovers in Barcelona and women’s workshops in Delhi, the pressure for more inclusive cities is mounting.
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Mission Statement

Mission Statement | Social Art Practices | Scoop.it
The Bureau of Linguistical Reality was established on October 28, 2014 for the purpose of collecting, translating and creating a new vocabulary for the Anthropocene.
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In-Situ: Shapes of Water; Sounds of Hope (event no.2) - A review by Megan Chapman

In-Situ: Shapes of Water; Sounds of Hope (event no.2) - A review by Megan Chapman | Social Art Practices | Scoop.it
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Final Commissions: Sharon Hayes, Maria Eichhorn and Koki Tanaka

Chisenhale Gallery, The Showroom and Studio Voltaire present the third and final year of commissions for their shared project How to work together. How to work together launches three major new commissions, and the first solo exhibitions in the UK, by Sharon Hayes at Studio Voltaire, Maria Eichhorn at Chisenhale Gallery and Koki Tanaka at The Showroom. Over the past three years, the organizations have produced a thematic commissioning and research programme around the subject of "how to work together?", comprising a series of exhibitions, events and an online think tank.
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Art and Activism Intertwine in Thompson Talk

Art and Activism Intertwine in Thompson Talk | Social Art Practices | Scoop.it
"Thompson brought to the podium a youthful energy and blithe buoyancy atypical of more traditional arts presenters."
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Milton Keynes has a writer in residence? Imagine the possibilities

Milton Keynes has a writer in residence? Imagine the possibilities | Social Art Practices | Scoop.it
Can some enterprising scribbler transform Milton Keynes into a hub of cosmopolitan glamour? Well, it worked for Plymouth, Seattle’s Fremont Bridge and Heathrow ... didn’t it?
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Art in the New Plutocracy

Art in the New Plutocracy | Social Art Practices | Scoop.it
The commodification of art has become more than a matter of cultural debate. It should be subject to political scrutiny.
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Afterwork | e-flux

Para Site is pleased to present Afterwork, a major group exhibition exploring issues of class, race, labor, and migration in Hong Kong, its surrounding region, and beyond. It is part of Para Site’s ongoing Hong Kong’s Migrant Domestic Workers Project, a long-term initiative aimed at engaging the domestic worker community through collaboratively organised public programmes and commissioned artist research. As an exhibition, Afterwork is nevertheless an autonomous proposition, including the often ambivalent and polychromatic aspects of the social and cultural mosaic of Hong Kong, Philippines, Indonesia, as well as of other contexts. Afterwork includes works by Poklong Anading, Liliana Angulo, Xyza Cruz Bacani, Jean-François Boclé, Cheng Yee Man (Gum), Imelda Cajipe Endaya, Köken Ergun, Harun Farocki, Larry Feign, Hit Man Gurung, Fan Ho, Alfredo Jaar, Jao Chia-En, Eisa Jocson, Abdoulaye Konaté, Sakarin Krue-On, KUNCI Cultural Studies Center, Joyce Lung Yuet Ching, I GAK Murniasih, Daniela Ortiz, Beatrix Pang, Miljohn Ruperto, Santiago Sierra, Sun Yuan & Peng Yu, Melati Suryodarmo, Brian Gothong Tan, Taring Padi, Maria Taniguchi, Ryan Villamael, and Elvis Yip Kin Bon. Domestic workers are Hong Kong’s largest minority group and one of the most visible components of the city’s society, and their legal and symbolic status are matters of constant negotiation, reflecting the shifting position of Hong Kong citizenship. The group’s invisibility in the various narratives of what constitutes Hong Kong society is countered by the hypervisible weekly occupation of Hong Kong’s public spaces for the Sunday picnic gathering of the community. It was the social spaces and cultural structures constituted around this regular gathering that facilitated the beginnings of our project. The stories of migrant domestic workers in Hong Kong are crucial narratives that need to be told alongside the city’s growing affluence in the past decades, together with the stories of the struggles of what is considered the “local” working class, and on the backdrop of the different historical waves of labour migration in Hong Kong and the world. Afterwork does not, however, mean to patronizingly give a voice to or be the vindicator of the struggles of migrant workers. It does however take into consideration the representation of migrant domestic workers, from various perspectives, while putting under question, throughout the show, the very notion of representation. Afterwork is also looking at historical ways in which class has been constructed in Hong Kong, but also in the highly polarized societies of South East Asia. It is also interested in the idea of race, on how the South East Asian “other” has been approached in Hong Kong and more broadly in Chinese culture, but also on how race remains an issue within many South East Asian countries. Anchors to other contexts and historical moments are present throughout the exhibition. Afterwork includes the work of artists of different practices, contexts, and generations dealing with the issues, aesthetics, and histories of migrant labor. Several artists venture into the personal implications of the presence of domestic workers in households, the public sphere, and the artists’ lives. Other artists create abstract landscapes that bring a different and necessary vocabulary in an exhibition that tries to address such a wide and contradictory array of topics and perspectives, from personal desires and dreams to historical processes. And by this exercise of imagination, we hope to reimagine just what it means to be a Hong Konger and who is entitled to speak for Hong Kong. In addition to the exhibition, Para Site is publishing Afterwork Readings, an anthology of migrant and domestic worker literature conceived in collaboration with KUNCI Cultural Studies Centre in Jogyakarta, Indonesia. This major volume about and by migrant workers contains short stories, poems, and excerpts from novels and plays, written by classical literary figures of the region, established contemporary authors, as well as domestic workers. It is printed in four different languages (Bahasa Indonesia, Chinese, English, and Tagalog), with the hope to create a platform facilitating the encounter and exchange through literature between the different migrant worker communities. It is also aiming to bring together the most relevant texts on this issue of great importance, written in our region over the past century, as well as to promote the work of the most promising writers from among the domestic workers community.  Afterwork is curated by Freya Chou, Cosmin Costinas, Inti Guerrero, and Qinyi Lim. Collaborator: Acción Cultural Española, AC/E Para Site is Hong Kong’s leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. It produces exhibitions, publications and discursive projects aimed at forging a critical understanding of local and international phenomena in art and society. Para Site is financially supported by the Springboard Grant under the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region. The content of this program does not reflect the views of the Government of the Hong Kong Special Administrative Region.
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