"4Cs International Project and how art can, more than ever, create new conviviality spaces"
Julia Flamingo's reflection on some of the 4Cs Portuguese activities in these three years published on Artecapital website.
[this post is only available in Portuguese]
Las Golondrinas (The Swallows) is the name of a Mexican song from the end of the 19th century which is still part of melancholic goodbyes and nostalgic memories. Present in Latin American culture and its particular experience of migration, this song also entitles Maya Saravia's exhibition at Balcony Gallery.
The streets are her stage; the city and the passers-by, the motivation for her performance. Who is this woman? Where is this woman heading to? What does this woman want?
Migration, a documentary theatre piece performed in the Macao Arts Festival in May 2018, produced by the non-profit theatre company Macau Experimental Theatre, puts this agency onto the bodies of a group of Indonesian workers in Macao.
In this essay, Rado Ištok proposes to examine the stereotypical racial imagery of the café and shop windows as transparent interfaces between public and private space in Lithuania and Eastern Europe in relation to the region’s complicit yet often ignored relationship with the histories of colonial and racist violence.
The text was originally published on echo gone wrong's website.
A call from Poland for increased support for artists and art during Covid-19, and a reflection on their importance in countering fascist narratives and threats to democracy. With thanks to the author, London and Warsaw-based curator Kuba Szreder, and to L’internationale where this article was published.
Last February, Kader Attia and Jean-Jacques Lebel presented “L’Un et l’Autre [One and the Other]” at Palais de Tokyo. Jean-Jacques Lebel (b. 1936, France) is an artist, curator, writer, activist, event organiser, and was the author of the first European happening; Kader Attia (b. 1970, France) grew up between Paris and Algeria, and his interdisciplinary approach to research explores issues such as traditions, colonialism and collective memory.
Artist Amira Hanafi reflects on the process of assembling and translating a work of multivocal storytelling of the 2011 Egyptian uprising and its aftermath.
In 1970, Judy Baca created with the collaboration of local gang members the mural entitled Mi Abuelita, one of the first community murals in L.A. This project introduced an innovative approach in the creation of inclusive and non-conflictual public art.
A view from the UK where “the simplifiers, the oligarchs, the enemies of freedom” are making their presence felt, just as they are across Europe. A snapshot of work by Kader Attia, Wolfgang Tillmans, and Kathrin Böhm who provide a counter to the narrow and angry face of prejudice.
