Warping Protest: Decentralizing Art Activism Using Protest Textiles
(2024)
Britta Fluevog
My practice-based arts research proposes to create a toolkit to decentralize art activism using hand-crafted textiles from an intersectional, feminist, decolonial and anti-capitalist framework.
When I say that I want to decentralize art activism, I aim to increase access in terms of location, timing and risk, so that people who do not live in major metropolises, centres of power, who work when most protests happen, or who for various reasons are not able to risk possible arrest that normal protests may present, can still engage in artistic protest. My praxis will embark on a series of art activist actions that utilize various methods of decentralization, creating a handbook that displays and analyses these methods. The ways in which textiles are particularly suited to decentralize art activism, through subterfuge, slow time, and haptic relationship will be explored within the praxis.
Answering the seemingly peripheral question of whether or not art activism is compatible within a gallery space imperative for the main theme of my research, which is decentralization of art activism. If art activism harmoniously exists within a gallery exhibition, then the easiest way to decentralize it is to send the art activism to exhibit elsewhere. My initial findings within the research suggest that act activism mostly cannot exist within sanctioned art exhibitions and therefore exhibitions are not an effective way to decentralize art activism.
My toolkit is inspired by practical how-to-guides of art activism (Boyd and Mitchell, 2012; Duncombe and Lambert, 2021; Aylwyn Walsh et al., 2022) and through textile practises such as Tanya Aguiñiga (B. 1978-), the Craftivism Collective (2009-), Aram Han Sifuentes (B. 1986-), and Sandra Suubi (B. 1990-). The critique on capitalism’s infiltration into the artworld and art activisms roll because of this that is reflected in Alana Jelinek’s ‘Lifelike art’(2013), Gregory Sholette’s ‘bare art’(Ch(Charnley, 2017)); and Brian Holmes’ ‘Liar’s poker’ (Holmes, 2010) and it helps shape my art activism practise.
Drawing Across x Along x Between x University Borders
(2024)
DRAWinU
CONFERENCE, UNIVERSITY OF PORTO.
October 16, 17, 18th, 2024
::
Drawing Across :: Along :: Between University Borders considers the epistemological and transformative potential of drawing research to connect divergent areas in the university today. The conference focuses on drawing-based collaborations between art, science and society to tackle artistic, educational and societal challenges. We invite artists, scientists, educators, students, university policymakers and persons interested in inter-transdisciplinary practices across academia, research, and society to contribute and join the discussion in three possible directions:
ACROSS - In what ways are drawing practitioners challenging the disciplinary strictures that often constrain thinking and acting across divergent areas in the university?
ALONG - How can drawing activities be an ally of STEM education in the university, and how can STEM practices be an ally of drawing education?
BETWEEN - How can drawing-based practices and STEM disciplines collaborate to address the urgency of societal challenges?
Screenshot 2024-05-08 at 10.50.02
(2024)
Manuel Phil. Bischof
as a white ass, male human, Swiss/Austrian citizen,
I refuse to reproduce the Western narrative of art history.
I am a Fine Art student at
the Royal Academy of Art in The Hague (KABK),
who had to write a personal art history in max. 1000 words.
08.05.2024 The Hague