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Exposition

Warping Protest: Increasing Inclusion and Widening Access to Art Activism Utilising Textiles (last edited: 2025)

About this exposition

Art activism is powerful. Also known as activist art, protest art, visual activism, artivism and creative activism, it changes lives, situations and is and has been a powerful weapon across a whole spectrum of struggles for justice. Teresa Sanz & Beatriz Rodriguez-Labajos(2021) relay that art activism has the unique ability to bring cohesion and diverse peoples together and it can, as Zeynep Tufekci notes, change the participants (2017). As Steve Duncombe & Steve Lambert (2021) posit, traditional protesting such as marches or squats are no longer as important as they once were. As a result of my own lived experience in activist activities, I very much agree with Andrew Boyd & Dave Oswald Mitchell (2012) that the reason people use art activism is that it works, by enriching and improving protest. In the past, when I lived in a metropolis and was not a parent, I used to be an activist. Now I no longer have immediate access to international headquarters at which to protest and I have to be concerned with being arrested, I am hindered from protesting. This project is an attempt to increase inclusion and widen access to art activism. By devising methods which include at least one of the following: that do not require on-site participation, that can take place outside the public gaze, that reduce the risk of arrest, that open up protest sites that are not “big targets”, that include remote locations, that involve irregular timing, my thesis aims to increase inclusion and widen access to art activism to those who are underserved by more mainstream methods of conducting art activism. Textiles have unique properties that enable them to engage in subterfuge and speak loudly through care and thought(Bryan-Wilson, 2017). They have strong connotations of domesticity, the body and comfort that can be subverted within art activism to reference lack of this domestic warmth and protection(O’Neill, 2022). Being a slow form of art-making, they show care and thought, attention in the making, so that the messaging is reinforced through this intentionality in slow making.

type	research exposition
keywords	art activism, craftivism, visual art, Protest movements, protest
date	06/05/2024
last modified	19/07/2025
status	in progress
share status	public
affiliation	Transart, Liverpool John Moore University
copyright	Britta Fluevog
license	CC BY-NC-ND
language	English
url	https://www.researchcatalogue.net/view/2781515/2781516

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name	Caution Fascism Tape
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name	Danger Colonialism
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name	Decolonizing Nyayo House
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name	Poison Triangle
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name	Sample workshop pin
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name	Untethered Ice weaving
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name	bark weaving
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name	don't mourn make change
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name	austerity on couch at LSA
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name	stein Valley pic IV
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name	pin weaving workshop letter to pin recipient
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name	Danger Colonialism detail I
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name	Colonization in KICC
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name	Nairobi veiwscape intervention 3
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name	Nairobi veiwscape intervention 2
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name	triangle poison colonialism colour
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name	National Gallery
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name	bark loom sample
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name	Make chnage don't mourn armbands on sewing machine making pic
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name	caution ice weaving
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name	open pit mining trial
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name	caution tape test
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name	protject timeline
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name	Screenshot 2024-09-23 at 2.29.12 PM
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name	poster for detethered magic
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name	detether magic veiw from front/kim
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name	kim's installation
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name	Hadar's wall
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name	Hadar's book
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name	Sara's wall 1
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name	SaRa's plinth
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name	saRa bird photo
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name	Britta left wall veiw
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name	stealth photos
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name	Britta's Wall
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name	colonisation has not dissapeared
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name	dark room walk through
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name	Hambach Ice weaving I
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name	ice weaving hambach 3:17
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name	catagorization or art activism
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name	inclusive star
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name	Screenshot 2025-07-19 at 6.59.15 PM
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name	Screenshot 2025-07-19 at 6.59.24 PM
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name	Screenshot 2025-07-19 at 6.59.42 PM
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