Art and Activism

Convocarte — Revista de Ciências da Arte n.º 5
Revista Internacional Digital com Comissão Científica Editorial e Revisão de Pares
Tema do Dossier Temático ARTE E ACTIVISMO POLÍTICO: PERSPETIVAS DA HISTÓRIA DA ARTE E ESTUDOS DE CASO
Ideia e Coordenação Geral Fernando Rosa Dias
Coordenação Científica do Dossier Temático Cristina Pratas Cruzeiro

Our scholarship on aids must be located at the crossroads of art and politics, life and art, and life and death.-Alberto Sandoval-Sánchez, "Response to the Repre sen ta tion of aids" Activism is an engagement with the hauntings of history, a dialogue between the memories of the past and the imaginings of the future manifested through the acts of our own pre sent yearnings. aids has surrounded us with the living memory of familiar ghosts, faces that haunt our intimate realities of being infected/not yet infected, sick/not yet sick, alive but not yet dead. As we wait for passage to the other side, we plan our revenge and chart strategies of re sis tance to head off the silence. Identity politics, as an organ izing tool and po liti cal ideology, has historically had specific investments for marginal-ized groups in this country. Po liti cal groupings based on identity categories, however, have become highly contested sites, splintering ever further into more specialized and discrete social and po liti cal units, based on more precise yet still problematic categories of identification and concomitant modes of definition. As a lived practice, strategic essentialism (and the policing of identity) that often defines it has become a messy and contentious organizing strategy that ultimately reveals the limits and problematic assumptions of identity politics. Identity politics formed in re sis tance to state power thus remains implicated in the perpetuation of the narratives upon which it is founded, specifically the conflation of identity, ideology, and po liti cal practices and the lived ramifications of the constructed and problematic duality of insider/outsider. Yet for many, it becomes impossible to conceive of po-liti cal organ izing without explicative narratives or definitive social positions.

This is not strictly an academic book, but an educational experiment full of dancing stories, metaphors, allegories, creative maps, and exercises that ask you to sit at the limits of our modern desires and imagination. Half-serious warning: don't read it if you are seeking clear-cut answers, easy solutions or self-validation. Two sample chapters are available here.
ISBN: 9781623176242

“Beyond a mere critique of modernity, this is a book written for us as people who struggle with the everyday manifestations of modern power. Clear, creative, and cogent, the work offers cutting-edge philosophy at the same time that it furnishes usable guidance for how to cope with the coming perils of colonialism and capitalism. It’s a book for the future, yet written to meet us where we are at right now as individuals living with trauma and facing ethical dilemmas about what it means to take meaningful actions under conditions of complexity.”
— KYLE WHYTE, PhD, George Willis Pack Professor of Environment
and Sustainability at the University of Michigan

“Asking the question ‘What if racism, colonialism, and all other forms of toxic and contagious divisions are preventable social diseases?’, Hospicing Modernity invites its reader to dare and educate themselves by undergoing a process of self-unmaking. Drawing on and moving beyond traditions of radical pedagogy, such as those inspired by Paulo Freire, the author has created a powerful tool for uncovering, undoing, and recovering from the deadly ways in which modernity also lives and dies as humans experience it subjectively.”
— DENISE FERREIRA DA SILVA, PhD, professor at the University of British Columbia Social Justice Institute and author of Toward a Global Idea of Race and Unpayable Debt

This study examines artists’ approaches to social change in New York City from 1966 to 1976. During this period, overlapping communities of artists and art professionals sought means of providing a social meaning and purpose for their practice – one that addressed the political ruptures of the 1960s and 1970s, and challenged what was perceived as a classed, elitist, and socially disengaged art establishment. In doing so, they produced politically motivated art and performance, while participating in active protest, initiating museum reform, and engaging in community arts and education projects. While these developments reflect the national context, the thesis argues that they need to be understood within their local setting. As artists responded to political and social concerns, they did so with reference to their own local conditions as both artists and residents of New York City. Tracing these impulses into the 1970s, the thesis also challenges scholarly periodizations that present 1969 as an endpoint for social movements initiated in the 1960s. Within this framework, the art and actions of New York art-protesters reflect unique and innovative approaches to activism and social change that both appropriated aspects of the avant-garde tradition, and anticipated future modes of political radicalism.

Cornelia Parker is a British-born, London-based artist set to show at Australia’s Museum of Contemporary Art as part of this year’s Sydney International Art Series. Her works are marked by an unusual amount of order, coupled with an unusual range of emotion. This dualism ties together a variety of aesthetic forms and subjects, as Parker has historically ranged across broad, humanistic themes and mediums. Her large-scale artwork War Room will be one inclusion: a red-ceilinged, paper-draped room of punched-out, memorial-poppy-fabric conjuring soft, vulnerable womb-like organs, it stands as a testimony to the bodily destruction of state-sanctioned conflict. Her artworks have frequently been co-opted by political and environmental movements, but Parker does not like to be described as a political artist. Many of her works transcend national borders to speak to a global community: for instance, Apocalpse Later, which stems from an ecologically-centric interview with Noam Chomksy, as well as her early, now iconic installation Cold Dark Matter, comprising an exploded domestic shed and its material contents.

The diversity of her practice places a question mark over how Parker will engage with an Australian museological audience. Another early artwork, The Maybee, interrogates institutional approaches to the public display of objects and artefacts, throwing into account the manifold ways in which museums frame the taxonomic interpretation of objects and their histories. Parker’s canon is complex in its site-specificity, and this – coupled with the artist’s evident awareness of museum convention – provides a thought-provoking precursor to what may be on display.

The NFL protests are only one of many celebrity-fueled political controversies during the Trump presidency. Why is there such a proliferation of celebrity activism? More importantly, does it amount to anything? What does our knowledge of celebrity influence tell us about the recent NFL controversy?

There is unarguable that the street has become the natural space of recent art. This is especially remarkable in a country like Spain where, since the Spanish Revolution (Madrid, May 15, 2011, the so-called 15-M) and the emergence of new left wing and horizontally-organized parties, citizen’s direct intervention and participations on the public sphere–arts or politics- seems to be the norm.
Thus, for the last decade Spanish cities have witnessed phenomena of citizen’s empowerment through actions such as: both metaphorical and actual occupation of empty spaces, demolition of public fences and, above all, proliferation of street art and official signs intervention. This later has given birth to a sort of urban palimpsest of graphic layers from the spontaneous scribble to the most sophisticated examples of urban art by art practitioners, receptors or the city authorities that contest these phenomena by either replicating, completing or erasing them.
In short, the city has become an experimental art laboratory that entails not only marginal art manifestations but also illegal interventions by artist who are, at the same time, exhibited in galleries and museums thus questioning both the concept of commodification, the public (make public) and ultimately the social role of art.

This paper traces the current prescription opioid crisis to some of its origins in the orders of race, colonialism and empire that connect our present day to the past. It is something of a sketch of a larger work that seeks to complicate our understanding of the power dynamics at play in what some estimate to be the world's most profound anthropogenic public health crisis

Creative activism is an approach to education that asks: ‘What can happen when we take learning outside the classroom and think of it happening everywhere?’ Two charities – House of Imagination and Cambridge Curiosity and Imagination – have been asking this question in their creative place-making programmes working with socially engaged artists and communities linked to primary schools in Bath and Cambridge. Young children and adults co-create and speculate about the future of their communities and environments in these different geographical locations. This article draws together the authors’ shared understanding of creative pedagogies and the value to everyone of working in this way.

In this interview, Saba Zavarei sheds light on her background and positionality, past and present projects and methodology, as well as the challenges of practicing activist-art in Iran. Expressing her viewpoint on a cluster of topics, ranging from the meaning of bridge-building to the impact of the Iranian Revolution on her generation, she explores the possibilities of artistic practice in Iran now, and for the future. This interview took place virtually over email between herself and FIELD editor Bria Dinkins.

Přijde mi důležité diskutovat se studenty vedle nadčasových témat dotýkajících se krásy, vesmíru, podstaty bytí apod. i témata, která se týkají aktuálního dění / událostí, které visí ve vzduchu / společenské otázky / to, jak být uvědomělým a angažovaným občanem. Samozřejmě bychom se k nim v rámci výtvarné výchovy měli vztahovat přes umění. Klíčové dílo, ke kterému se budeme vztahovat, je Vor Medúzy (Le Radeau de la Méduse) od Theodora Gericaulta.

This paper examines the possibility of art activism through a discussion of Brian Holmes’ work on art activism. “Eventwork” is a concept proposing four effective vectors in the cultural strategies in the history of social movements. The aim of eventwork is to activate one’s autonomy to a political form of living as well as to articulate participation and coalition to subvert the cultural confinement of the current borders of professions and disciplines.
Eventwork is a convergence of art, theory, media and politics mixing multiple professional skills. To examine these modes of eventwork, we will examine a cultural event called ‘Tucumán Arde’ in 1968. Here, vanguard artists used counter-information, proliferated their images and deployed experimental art to challenge government propaganda.
According to Brian Holmes, Fordist modernization and post-Fordist alienation and immaterial production generate complex social problems such as ecological destruction, economic inequality and the repression of minorities. Additionally, Holmes denounces artistic and cultural resistances established in simply institutional terms such as “relational art” or “critical theory”. For Holmes, art activism is an earnest counter-movement against modernization and capitalism.
However, there is another perspective or strategy for art activism. The Japanese artist and art critic Yoshio Shirakawa proposes an attitude of being anti-Capitalist in both institutional and non-institutional forms. Shirakawa, for instance, argues that some tribal museums develop their own criteria of collection to support minorities and counter culture. He also points out anonymous and individual protest activities should be included in art activism.
In conclusion, we will define art activism and the forward agenda of the Eventwork concept: how to realize cooperative cultural practice in contemporary society? It seems to be difficult to expect fundamental transformation in the post-Fordist era as we are faced with critical problems such as nukes, repressive laws, and neo-liberalism. That is why artists are likely to be, or expected to become, mediators between individual talents, public engagement and social problems via aesthetic expressions. A significance of art activism is to utilize tactics to make alternative relations within and beyond the norms of each field and also of the notion of art activism itself.

Design activism is referred to as the use of design as a vehicle for activism . This mode of expression is fast gaining momentum in countries and organizations worldwide, with the aim to sustain future and social change. Design activism also appeared during the #ENDSARS campaign that demanded the disbandment of SARS unit of the Police force in Nigeria. The #ENDSARS campaign is an act of activism that started from the social media platforms. A challenge that can be perceived today is the lack of practice, discourse, education and understanding of design activism in Nigeria. This study therefore seeks to foster understanding of design activism and determine its impact in the recent #ENDSARS campaign.
To undertake this mission, the study makes use of selected works as case studies, online survey, interviews with designers and literary materials that focus on design activism. It employs qualitative research approaches and uses thematic analysis to measure the effect of design activism in the #ENDSARS campaign. Though present during the #ENDSARS protest, design activism was not consciously utilized to its full potential. It was however able to spread awareness, provided visual communication for the protest and stimulated people to participate in the protest. To achieve a better result through design activism it is needful for designers to be taught the necessary skills to cope with social, environmental and political issues, to keep in mind the necessary factors when designing a specific-oriented product, and discourse on design activism should be engaged in regularly to create substantial awareness.

Ever since the 2006 movement to preserve the Star Ferry and Queen’s Piers, Hong Kong’s social movements have never gone without artists, artists who have ignited the avant-garde spirit, walked the frontlines and used all manner of creative methods to amplify the voices of the weak and turn the tide of public opinion. The phrase “art x social movement” has become a key term in the discussion of Hong Kong contemporary artists. This has particularly been the case in issues that touch on the specific operations of spatial politics, such as public space, urban renewal and development of the outskirts. In such cases, art has been used to skirt politics, following the maxim of “I hope we don’t get arrested for this” (This phrase in Chinese has served as the title of the exhibition “CHiE! – Culture sieges Politics”, a show curated by Japar Lau and Jessie Chang in 2008)”) as they occupy areas, repurpose spaces and overturn conventions. But since the student strikes and Occupy Central actions that began in the name of universal suffrage in late September, despite the waves of umbrellas and action, many artists who had once passionately engaged in politics chose this time to sit on the fence, or blend anonymously into the crowd. They were replaced by impromptu DIY efforts by citizens on the scene and in the digital world, from slogan banners to post-it notes, feet knocking over barriers, people appropriating news images and reimagining them in Cantonese. These are the flowers that sprouted across Occupy. For this essay, the author met with many newcomers and old veterans of “art x social movement” in an attempt to understand their sudden caution.

This essay researches the artworks  and artifacts produced during the Occupy Central Movement for universal suffrage, exploring the properties, roles and possibilities for contemporary art that have resulted, including the potential for art to change the world, and the role that art plays in social movements. One example is an “artwork” created out of umbrellas by students from the City University School of Creative Media. Drawing from the materials around them, they stacked metal barricades to form a pedestal, cobbled together a frame from the wires of broken umbrellas, and then affixed umbrellas of different colors together to create an Umbrella Tree. These “trees” have been placed in visible locations to serve as landmarks at the gathering areas. These students are using the installation form to create substantive expressions. They hold that the police should not oppose them, and that the situation today was caused by the powers that be, so the barricade symbolizes the police, while the umbrella represents the people, and the two should come together. However, artists including Justin Wong, the logo designer of the Occupy Central Movement, Pak Shuen Cheun, the conceptual artist, Yip Hoi Lun, the young calligrapher, Clara Cheung, the art space founder, all choose to participate as ordinary citizen. For them, creativity liberated by the movement should occupy the stage instead of the “artist”.

At this point, the essay raises several points for reflection. First, when the people have already “awakened” (a slogan of the Hong Kong Federation of Students), should artists take another step forward, or take a step back, leaving the stage to the people? Second, in this new era of the attention economy, the sense of joyful participation in resistance lowers the threshold for political participation, but how to revive the Carnivalesque energy of Mikhail Bakhtin, and expand it to touch on stagnant everyday life and even shake the political order? Finally, the author shows that after so many democratic movements, “art x social movement” has become deeply rooted in Hong Kong. The people proactively take to the streets and frontlines, with no fear of arrest. Now that the boundaries between aesthetics and politics have vanished, a new wave of art x social movement is waiting for renewal.

Artivism has become a central element of political change in Chile. In 2019, during the October Chile- an social outbreak, performing arts were an important part of public expression. This paper explores the role of flash mob as a form of Artivism in Chile from an interdisciplinary approach combining lit- erature from Theatre Studies and Studies of Social Movements. Albacan proposes that flash mob turn out to be performative acts that reconnect individuals with their community in a cooperative, creative and playful way. Flash mob challenges the street routine because happens in a short, specif- ic interval of time. Probably the most emblematic Chilean flash mob was A rapist in your path creat- ed by the collective Las Tesis. The intervention, inspired by the work of renowned feminist Rita Sega- to to create a performance that would show rape not just as a crime against an individual woman, but as the expression of a larger social issue.

Despite much evidence of its effectiveness, nonviolence has not gained widespread recognition by the media (Summy, 2000, pp. 4-5), with the success of campaigns being attributed to their leaders or some ill-defined “people power”. Similarly, the arts feature in many nonviolent campaigns, yet have gained little credence as an effective tool of nonviolence. They are often mentioned in the media; for example, at the 1979 anti-logging protest at Terania Creek, NSW, the Good Weekend reported that ‘…bead-wearing hippies and rainbow greenies… blocked the road and played flutes, mandolins and drums. They danced, sang, wailed and chanted to the frustrated police and furious loggers wielding chainsaws and still cutting down huge trees’ (Hawley, 2003, p. 19). Yet these arts have rarely been studied in depth, particularly with regard to how they accord with nonviolence praxis. Even within protest movements some do not consider the arts “frontline” activism. This view continues a dualistic philosophy which views direct confrontation as being the most effective form of social change. It perpetuates the machismo of patriarchal politics, and the paradigm condoning violence as an acceptable means of conflict resolution. Many feminists have rightly been critical of such a view (Schmah,1998, pp. 31-33).

This paper argues that the arts are an important part of nonviolence, contributing to campaigns in a myriad of ways. After a literature review, the paper briefly explores tenets of nonviolence that relate to artistic activism. It presents an overview of the relationship between these arts and nonviolence, while noting that more research is needed. It then describes, from an insider or ‘emic’ perspective (Kellehear, 1993, p. 21), examples of arts in nonviolent direct actions (NVDAs), particularly within the broad popular movement which advocates peace and environmental protection, characterised as “eco-pax” by Pakulski (1991, pp. 158-160).

The Ana Cha Collective is a coalition of feminist scholars, artists, and filmmakers formed to interrogate the cultural world through a feminist lens and engage in a creative practice that deconstructs violent power structures. This article outlines the feminist (her-)story and politics that contextualizes the formation and political praxis of the Ana Cha Collective. The Feminist Art Movement’s points of strength and limits can reveal effective feminist political practices in the contemporary cultural sphere. The Ana Cha Collective formed to utilize radical feminist practices in cultural production for the complete liberation of the marginalized by dismantling the structures that identify and
oppress these groups. By archiving the collective’s critical and creative pedagogy, this article serves as a form of feminist counter-discourse that will hopefully spark more
collective feminist art praxis.

The research focuses on the field of Internet art, net.art, which followed the emergence of the World Wide Web and often manifested as a result of the need to find alternative ways to deal with and circulate works of art other than the established mechanisms of the dominant market. It is here that we come across one of the first attempts to criticize corporate aesthetics and the commercialization of information through the paradigm of net.art’s pioneer, the Serbian artist Vuk Cosic. This will be the motive to trace a particular field of artistic-activist practice, that of Tactical Media, which have been closely associated with Internet art. The theoretical foundation on which Tactical Media was based is situated around the theory of French philosopher Michel de Certeau on the practice of everyday life, which is transformed into a political tactic. Through the examples of Heath Bunting, ®TM ark and Yes Men we will encounter practices which combine net.art with Tactical Media and develop as forms of critique towards neo-liberal hegemony. In the last chapter, the space of the Internet is proposed as another real space, according to Michel Foucault’s concept of heterotopia. The following dilemma emerges; whether the heterotopia of the Internet will function as an illusory space which enhances the illusion of real space or whether it will manage to become another real public space, through its political constitution, which can also be a result of its contingent artistic treatment. We will follow the thought of theorists such as Ernesto Laclau and Chantal Mouffe, Julian Stallabrass, Rosalyn Deutsche and Oliver Marchart, in order to comprehend, through the theory of the political as antagonism and politics as hegemony, that it is not enough for a public space to be physically or institutionally defined as such in order for it to effectively perform its function.

We imagine that art and money are old enemies, but Max Haiven argues that this myth actually helps reproduce a horrifically violent system of global capitalism and prevents us from imagining and building alternatives.

From the chaos unleased by the ‘imaginary’ money in financial markets to the new forms of exploitation enabled by the ‘creative economy’ to the way art has become the plaything of the world’s plutocrats, our era of financialization demands we question our romantic assumptions about art and money. By exploring the way contemporary artists engage with cash, debt and credit, Haiven identifies and assesses a range of creative strategies for mocking, sabotaging, exiting, decrypting and hacking capitalism today.

Written for artists, activists and scholars, this book makes an urgent call to unleash the power of the radical imagination by any media necessary.

Anohni’s 2016 album HOPELESSNESS ruminates on feelings of hopelessness in the wake of climate change, domestic surveillance, and geopolitical instability. This chapter considers Ahonhi’s critiques of power through the “Trojan horse” effect of the album, specifically her use of the language of popular music and positioning herself and listeners as both enactors and objects of violence, desire, and control. Through a close analysis of the songs “4 Degrees” and “Watch Me,” this chapter demonstrates how Anohni mobilizes the political potential of irony and the compelling ethos of the confessional genre to implicate listeners—an inventive approach to communicating politics with revolutionary possibilities.

The negative effects of climate change disproportionately impact Pacific Island nations. Although Pacific Nations contribute the least to climate change compared to other nations, they are the most impacted by rising sea levels. These negative effects can see nations within the region completely submerged or uninhabitable. This article highlights how the Pacific Island diaspora in Australia are acting in solidarity with their homelands in the fight for climate justice. Although Pacific Island diasporic groups have moved away from their (Mother)land, they are still emotionally, mentally and spiritually connected to her. Many Pacific Islanders in the Australian diaspora are passionate and determined to ensure the survival of their Island (Mother)land. Given the lack of information on climate change from Pacific Island perspectives, it is envisioned that this article will bring awareness to climate change issues from Pacific people. The voices of two Samoan activists who were raised in Meanjin (Brisbane), Australia combine to tell this story.

Enlivened by queer and feminist enactments of new materialist, posthuman and affect theory, this chapter explores what has become possible with speculative pARTicipatory activist encounters with young people, educational practitioners and politicians in the field of gender and sexuality education in Wales (UK). Sparked by a throw-away comment of how some boys use rulers to lift up girls’ skirts, the chapter maps what else a ruler can do through a series of five ‘ruler-skirt risings’. Each rising provides a glimpse into the agency of ‘d/artaphacts’ (arts-based research objects) across micro-resonating moments to macro force-fields of change. From fashion activism to curriculum and national policy, every rising takes form and shape to in-form and re-animate how sexism, sexual violence and sexuality education might be felt, noticed and engaged with differently, but never in ways known in advance and always on the move.

Research focuses on the value of activism as regards an independent cultural organization in Serbia, which demanded specific leadership capacities and skills during the turbulent historical period, marked by the dissolution of Yugoslavia in the 1990s. We have selected the Centre for Cultural De-contamination (CZKD stands for Centar za kulturnu dekon-taminaciju, and this abbreviation is commonly used when writing about the Centre) and its leader Borka Pavicevic, a paradigmatic figure and symbol of dissidence and activist movements of those period, for a case study. The main approach would relate to the organizational development studies and leadership theories trying to explore mutual interdependence, located in the context of cultural transition and social movements that presented key agents of change in post-communist time. A method would include an adaptable quality management approach (Dragicevic Sesic, Dragojevic 2005) and an Adizes leadership theory, while empirical part would be based on an interview with Borka Pavicevic and an analysis of the CZKD strategic plan. KEY WORDS leadership, activism, independent cultural organizations.

During the heat of 1969s fraught political climate, editors of the legendary multi-media magazine “SOURCE: Music of the Avant Garde” invited 20 innovative composers and musicians to respond to a single question: “Have you, or has anyone, ever used your work for political or social ends?” Forty-five years later and in the midst of the latest variety of intense current events, sound/conceptual artist Alyce Santoro posed the same question to 20 unconventional composers working today, two of whom answered the question 45 years ago, and six more of whom had works published in SOURCE on other occasions.

To view both the complete original 1969 SOURCE article along with the 2015 responses for LMJ, please visit http://www.alycesantoro.com/politics_of_sound_art.html.

A lot has been heard in recent years about contemporary art in Athens. In the international press it is often portrayed as a vibrant scene that resists the financial crisis. By now there is even a fetishism around experiencing Athens, boosted also by large-scale artistic events that mobilize a mix of international interdisciplinary professionals from the arts and the creative industries, art-activists and so on. In this lecture I will talk particularly about artists' groups and the rise of collectives since roughly 2000. Similarly to other phenomena that the ongoing anomalous social, political and financial situation has accentuated, collectivity in art has also its own continuities and discontinuities with the years before.

An inner link has always connected the artistic avant-garde with acts of insurgency carried out by socially disenfranchised populations insofar as both embrace the possibility of an emancipated future that is radically at odds with the present (picture Gustave Courbet
helping to topple the Vendome Column in
1871), except something about such historical repetition and reenactment at this time  –a moment best described as an uncanny present: a present unfamiliar in its very presentness (Rebecca Bryant)– cries out for something like verification. The essay (published in ASAP Journal 3.2 2018) asks is such a thing as proof of authenticity even possible?

The catalog of the exhibition “At the Front Line. Ukrainian Art, 2013-2019” speaks about the turbulent political and social situation in Ukraine of the last seven years, such as the Revolution of Dignity, the annexation of Crimea, and the war with Russia. It focuses on the materials of the Ukrainian artists’ exhibition at the National Museum of Cultures in Mexico City from September 2019 to February 2020. This exhibition was part of a larger interdisciplinary project realized in Mexico City that also included a series of panel discussions with the participation of Ukrainian, Mexican, and British researchers and artists at the Museum of Memory and Tolerance and eight documentary screenings at the National Cineteca. This trilingual publication (English-Spanish-Ukrainian) documents the first large-scale project in Latin America which looked at the contemporary Ukrainian art scene and the situation in the country. The exhibition was further presented at Oseredok Ukrainian Cultural and Educational Centre in Winnipeg, Canada. Participating artists: Piotr Armianovski, Yevgenia Belorusets, Svitlana Biedarieva, Zhanna Kadyrova, Yuri Koval, Roman Mikhaylov, Roman Minin, Olia Mykhailiuk, Lada Nakonechna, Yevgen Nikiforov, Kristina Norman, Mykola Ridnyi, Anton Popernyak, and works from the collection of the Izolyatsia Platform for Cultural Initiatives (Daniel Buren, Leandro Erlich, and Pascale Marthine Tayou), César Martínez Silva, and Paola Paz Yee. Texts by Yevgenia Belorusets, Svitlana Biedarieva, Uilleam Blacker, Hanna Deikun, Oleksandra Gaidai, Olesya Khromeychuk, Ricardo Macias Cardoso, César Martínez Silva, Jean Meyer, Olia Mykhailiuk, Maryna Rabinovych, Vsevolod Samokhvalov, Paola Paz Yee, and Mykola Ridnyi.