Suchergebnisse

Das gesellschaftliche Leben ist im neuen Jahrtausend - besonders seit der Bankenkrise - spürbar politischer geworden. Die Kunst betreibt und dokumentiert diesen Umbruch, denn anfangs haben vorwiegend junge Künstler und Aktivisten ihre Stimme gegen Globalisierung oder Umweltverschmutzung erhoben. Zunehmend werden auch wieder Arbeiten etablierter Künstler von politischen Themen dominiert. "Art & Agenda" untersucht, wie politischer Aktivismus auf globaler und lokaler Ebene auf die zeitgenössische Kunst als Ganzes einwirkt, und stellt eine Vielzahl von Künstlern vor, die sich lokal oder international politisch und gesellschaftlich engagieren. Manche stehen dabei in der Tradition von Agitprop und der Bürgerrechtsbewegung der 1960er Jahre und arbeiten mit Postern, Urban Interventions oder Grafikdesign. Andere bevorzugen etablierte Ausdrucksformen wie Malerei, Skulptur oder Performance. Die Persönlichkeiten und künstlerischen Praktiken sind dabei so unterschiedlich wie die Themen, die bearbeitet werden, denn je nachdem, aus welchem Kulturkreis die Künstler stammen, unterscheiden sich ihre Anliegen, ihre Techniken und ihre Radikalität stark, abhängig vom jeweiligen gesellschaftlichen und politischen Umfeld.

Throughout this paper, the main interest is in describing the use and practice of socialnetworking by Colombian migrants and its influence on the relation with, and the construction of a discourse about, Colombian conflict and social reality. In addressing the problematization of cyberspace and its virtuality as a space, an account is given of the singularities, political concerns, and personal expectations of two Colombian migrants living in Berlin. This leads to an analysis of the influence of virtuality in the construction of political and social discourses and of practices abroad. The discussion of the authenticity and "realness" of the virtual world and virtual relationships invokes the supposed opposition between virtual space as abstract, and the real world as the tangible and real one. However the notions of virtuality and reality are not necessarily opposed. According to Augé (1995), a place is defined as relational, historical and concerned with identity. Borrmann (2013) concludes in her study that cyberspace cannot be understood as an abstract place, meant to exist only "while we are sitting in front of the computer" (64). From this reasoning, several questions guide this paper: If the cyberspace is a tangible one, how do migrants—those people who supposedly live in between territories—relate to virtuality? How are these virtual spaces and places constructed from the singularities of Colombian migrants in Berlin? How do they relate to the actuality overseas, in their home countries?

Unlike traditional, text-based theater, "devised" theater can be an alternative form of theater that emphasizes democracy within groups, movement-based techniques, and sometimes encourages politically driven works of live performance. Actors can become a part of generating material for the final product instead of portraying a prewritten role. Their voices, impulses, physicality, and sometimes their life experiences influence the show in a personal and reflective way. I use The Odyssey, directed by Professor Kimberly Jannarone at UCSC, as a case study of what the devising process can look like. I use my experience to highlight the ways a devised production has the flexibility to change in response to current events. Our devising process allowed the utilization of each actor to the best of their potential; letting individual talents dictate roles and contributions to the play (rather than immediate casting for specific roles). Devising's open and democratic model helped us make political art in an encouraging rehearsal atmosphere where our diverse voices felt heard, in a time where political art is important and needed in America.

This chapter discusses the history of bicycle art, examining how artists from the early twentieth century onwards have used the bicycle as a device for exploring issues of identity, injustice and inequality. The discussion considers work by a number of artists from around the world, but the principal case studies are contemporary artists Ai Weiwei and Rainer Ganahl. This chapter examines the way these artists have used the bicycle as the symbolic device through which to explore questions of contemporary capitalism and technology, political repression and freedom of movement, economic inequality and nationhood, as well as masculinity, sexuality and individual identity. Both artists have also used the bicycle as a tool with which to make art in a variety of media, and this chapter argues that their work invites us to reflect upon cycling cultures and the bicycle's transformative political potential as a device that enables us to see and experience the world differently.

This book adopts an interdisciplinary approach to the question of how human lives are equated with the material. Ariel Colonomos explains the nexus between existential goods and material goods, and offers a normative discussion of the material valuation of human lives and the human value of material goods.