domingo, 7 de junho de 2015

Art & Politics

When art and politics get married, or the other way around

Vital Space is built on the belief in the power of art to change the world.

Vital Space is a participatory platform for all those who believe that an artistic perspective can help civilise, humanise and, even, rationalise the debate on the current confluence of environmental and economic crises. The platform functions as an open invitation to artists, scientists, activists, theorists, historians etc. to contribute diverse viewpoints from which to look again at the mounting problems regarding Humanity's relationship with Nature and with itself.

Vital Space aspires to create a deeper awareness about the most pressing issues of our time and to discern how art can be used to reach and influence a wider audience across the world. Acting as a cross-media art platform on which to pose questions concerning globalization and the plight of the environment, Vital Space creates a dialogue regarding the most vital issues of our time and how these can be addressed and expressed through art.

Vital Space revolves around two main axes: (a) the creation and production of visual art works, and (b) the initiation of research programs, conferences, publications and the formation of educational and media products designed to reach and influence a wide and diverse audience.

Vital Space is a non-profit organization founded in 2010 by artist Danae Stratou and economist Yanis Varoufakis.

Danae Stratou, Markets Within Market (2010)

I am not sure that art can meet political goals, but I believe that good art and good politics have the same ambition: honesty (not easy), curiosity, vision and discipline.

The Globalising Wall - Yanis Varoufakis

Fences have a longstanding relation both with liberal individualism and imperialism. But it was only after 1945 that walls took over from fences, with an unprecedented determination to divide. They spread like a bushfire from Berlin to Palestine, from the tablelands of Kashmir to the villages of Cyprus, from the Korean peninsula to the streets of Belfast. When the Cold War ended, we were told to expect their collapse. Instead, they grew taller, more impenetrable, longer. They began resembling a mighty Wall. They globalised. Their spectre is upon us from the West Bank to Kosovo, from the streets of Baghdad to the favelas of Rio, from the killing fields of old Ethiopia to the US-Mexico border. Globalisation was meant as their death knell, only it ended up strengthening them.

• Why?
• What are the forces sustaining this Globalising Wall?
• How does it feel to live in its shadow?

in Vital Space

quinta-feira, 4 de junho de 2015

Not a ready-made but trouvé

I understand now why Adam Curtis's great documentaries are not completely content oriented. This marvellous podcast by James Corbett gives us a few clues on this — CkS.

The Power of Nightmares. The Century of the Self. Pandora's Box. All Watched Over By Machines of Loving Grace. If you're familiar with the alternative media, you've doubtless come across references to the documentary work of Adam Curtis. But besides the well-known examples of brilliance within Curtis' work is a deeply doctrinaire strain that seeks to normalize mainstream history and convince us that the driving ideologies of the political elite are exactly what they say they are. Join us today on The Corbett Report as we deconstruct Curtis' documentaries and look for the deeper meaning behind the globalist ideology — James Corbett.