Office for Anti-Propaganda was founded by Marina Naprushkina in 2007. Office for Anti-Propaganda operates in the spheres of art and politics. The “Office” participates in and organizes political actions, publishes newspapers Convincing victory in 2011 and Self#governing in 2011–2012, which are distributed in Belarus and throughout the world.
directory - Democracy
The poet, musician, sculptor, and actor Malangatana Valente Ngwenya, who died in 2011, was not only the most famous artist from Mozambique, he was also also a member of the Mozambique Liberation Front (FRELIMO), member of parliament, alderman of Maputo, and cofounder of the Mozambican Peace Movement. Around 1960, he began to produce paintings, supported by an artist and an architect, who bought two of his paintings every month. After Portugal violently put down aspirations for independence, he joined FRELIMO, which was founded in 1962 in Dar es Salaam. Back in Lourenço Marques (today Maputo), he was arrested and spent eighteen months in jail.
labournet.tv is a audiovisual archive of the labour movement. We consider ourselves part of a movement with the aim of fundamentally changing social relations. The Internet is our means to promote an exchange of experiences, a process of learning from past struggles, and solidarity. For this purpose, present-day and historical films from all continents are collected. Our focus is on the situation of the workers, their (self-) organization, labour disputes and working conditions, and ideas for social alternatives. labournet.tv also produces its own contributions concerning current events in order to make visible current struggles and the perspective of the working population.
Since 2004 Kiss my Ba (Artem Loskutov (1986) and Maria Kiseleva (1991)) organizes and documents so-called monstrations – collective acts, one could say happenings (without a pre-prepared script), mass acts of art in the form of demonstrations with slogans invented by participants. The banners used in these events are on the whole absurd and apolitical. By challenging and updating “serious” political demonstrations, monstrations are a clear protest against the absence of public politics in Russia; they do not merely highlight the limits of civil liberties, but also broaden them, in this way becoming a school of solidarity, creative activity, and civil freedom. The first monstration took place on May 1, 2004, in Novosibirsk, and since then has been organized every year.
kanalB is an activist media project, which since the year 2000 runs an Internet station and produces political documentaries. To do this work we need the Internet and affordable video technology, low-cost traffic, and cheap servers. Main focuses are the visualization of social struggles and movements, political analysis and critique, and the idea of exploring alternative lifestyles. The project takes issue with the consensus created by the mass media, according to which we live in the best of all possible worlds. On the contrary: we view the current economic and social order as profoundly violent and coercive, and we see ourselves as part of a global political movement that opposes a system based upon exploitation, and searches for societal alternatives.
In John Goba’s life, there is a gross discrepancy between the original motivation of his artistic activities and the international reception of his work.
Disappointed by the lack of resonance to demonstrations of the open alliance Art Workers Coalition (AWC), Jon Hendricks and Jean Toche founded their own initiative within the New York art scene in 1969: the Guerrilla Art Action Group (GAAG). The artists’ critique focused on the U.S. military intervention in Vietnam, domestic policies that suppressed minorities, and the art establishment, which was controlled by political and economic interests. GAAG’s goal was to force institutions, politicians, and celebrities to take a moral stand on U.S. politics, through provocative actions, interventions, letters, posters, and theater projects.
Floating Lab Collective designs participatory research projects that explore the frontiers of individual agency and collective empowerment. Experimenting with the aesthetics of direct action, FLC crafts open-ended public projects that engage specific localities and identities, using visual arts, performance, new media, and publications to question the assumptions of global economy, political power, and social mobility and inclusion. FLC’s artists develop projects collaboratively with community members.
Manifesto: The place of the artist is on the side of the weak. Weakness makes a person human, and it is by overcoming weakness that heroes are born. We do not extol weakness, but rather appeal to kindheartedness and humanity. The time has come to return compassion to art! Compassion is an understanding of the weakness of others and a joint victory over that weakness. You cannot call it sentimentality. It is Freedom standing on the barricade with bared breast, defending the child in each of us! You say that art is only for the very smart, that it’s an intellectual game? That there is no place left for true impact, that strong emotions belong exclusively to Hollywood? It’s not true! Because in that case, art would be meaningless, cold, incapable of extending a helping hand.
Eternal Tour is an association, which organized a nomadic festival held every year in a different city: Rome 2008; Neuchâtel 2009; Jerusalem and Ramallah 2010; Las Vegas 2011; Geneva and São Paulo 2012. Founded in Geneva in 2007, Eternal Tour brings together academics and artists who address issues such as cosmopolitism, tourism, migration, exile, but also creoleness, feminism, taxonomy, practice-based knowledge, and empirical thought. During each festival, including its preparation, the Eternal Tour team interacts with local partners: encounters, exchanges, reflections, research, and creations characterize this transdisciplinary think-tank. Is our world really globalized? What does cosmopolitanism represent in today’s world?