There is probably no other artist who has delved so deeply into the subject of the borders between the rich countries of the North and the poorer ones of the South as Ursula Biemann. Her special interest is gender relations. The video essay Performing the Border from 1999, which is about the Mexico–USA border between Ciudad Juárez and El Paso in Texas, was the starting point for further research on global sex trafficking. For an exhibition at the Generali Foundation in Vienna 2003, Biemann and the anthropologist Angela Sanders contributed the video essay Europlex, which is about women who cross over the border into the Spanish enclave of Ceuta in Morocco.
directory - Environmental Protection
We are the internationally known mischief-making collective whose unique brand of activism, which we call “identity correction,” is documented in two award-winning films, THE YES MEN and THE YES MEN FIX THE WORLD. Armed with nothing but thrift store suits, we impersonate big-time corporate criminals (targets have included such heavyweights as the World Trade Organization, Dow Chemical, Exxon Mobil, and Halliburton) in order to draw attention to their crimes against humanity and the environment. We’ve discovered that delivering hard-boiled issues with huge dollops of laughter is a powerful way to reach mainstream audiences. Our low-budget actions have drawn regular coverage from all the major news outlets (the New York Times, CNN, Reuters, AP, AFP, BBC, NPR, and more).
The international anti-nuclear movement draws attention to the hazards of radioactive emissions, incidents, the processing, interim storage and long-term storage of radioactive material and nuclear waste. The movement also demands an end to the civil use of nuclear power. Already in 1958, in the USA there was a successive initiative to stop the nuclear project in Bodega Bay, north of San Francisco. In Germany, the anti-nuclear movement, which in the beginning was run by citizens’ groups of farmers, vintners, and students with an outstanding proportion of women activists, has campaigned since the 1970s.
Campact organizes campaigns in which people participate in social debates via the Internet. The Campact Newsletter, our main instrument, already connects over 900,000 politically active people. Our goal is to inspire people to actively engage in and shape politics outside of elections. With our campaigns we want to induce politicians to react to what their citizens want. This makes our democracy as a whole stronger. We stand for increased democratic participation of each individual, we demand the introduction of national referendums, and we fight for more transparency, for example, full disclosure of politicians’ outside earnings. Further, we campaign for effective climate policies based on renewable energy, and oppose nuclear power.
Our goals could be listed as:
• Reflecting on trash, waste, and reuse in all its formats and possible meanings
• Creating new points of views on consumption, garbage, the city, and contemporary urban life
• Promoting new possible attitudes and livelihoods through culture
• Helping other initiatives working on these issues and others that are similar
• Promoting networks of agents who usually remain apart in order to promote unexpected situations and reactions that are often very fruitful
• Participating in the global movements, places, and proposals of urban revitalization with bottom-up processes
• Promoting collective work and free culture – cooperation instead of competition
ATSA is a non-profit organization founded in 1998 by the artists Pierre Allard and Annie Roy. The couple creates transdisciplinary works and events for the public realm that take the form of interventions, installations, performance art, and realistic stagings. Their actions are born of a desire to raise public awareness of various social, environmental, and heritage issues that are crucial and need to be addressed. To sway both the public and the media – in short, to motivate as many citizens as possible to take an active role in improving society – ATSA marshals artistic quality, a playful, imaginative outlook, impactful media exposure, and key messages backed by sound and thorough research.
Tifariti, a former battlefield and military base during the Western Saharan conflict, is today the location of an annual “art festival in the desert” in the smaller part of the West Sahara region, which is not occupied by Morocco. The festival represents a peaceful way of drawing public attention to this still unresolved conflict and the illegal exploitation of the phosphate resources by international concerns. In the meantime the seventh ARTifariti Festival has been held – from October 20 to November 3, 2013.