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MUSÉE PRÉCAIRE ALBINET | THOMAS HIRSHHORN

  • THE PIECE OF ART
    Title : Musée précaire d’Albinet (which means in english : the temporary museum of Albinet) | Artist : Thomas Hirshborn, order of the Laboratoire d’Aubervilliers, directed by Yvane Chapuis | Date : 19/04/14 – 04/06/14 | Location : the housing area of Albinet in Aubervilliers (France)
    THE ARTIST
    Thomas Hirshhorn is a swiss artist and also an activist born on 16 may 1957. He lives and works in Paris. He focuses on the creation of handmade temporary sculptures. They are made from materials used in our daily lives. He wishes to give birth to his works outside of the traditional exhibition areas.
    BACKGROUND
    The majority of French museums are located inside Paris. In addition, these museums are visited by the part of the French population who has the easiest access to exhibitions (managers, students, etc.). Museums struggle to reach the young people who are coming from disadvantaged neighbourhoods.
    EXPLANATION OF THE PIECE
    Le Musée Précaire d’Albinet is a piece of art that was made for a short-term period and created in the public space. The piece itself is an exhibition space which displays works of artists such as Duchamp, Malevitch, Mondrian, Dali, Beuys, Le Corbusier, Warhol, Léger. The museum was designed at the foot of the buildings of Albinet, a poor neighbourhood in the Parisian suburbs. Young people were recruited on the spot, as people were needed to be in charge of the security, the installing, deinstalling of the exhibition as well as to liven up the space. The museum was created with modest materials: wood, plastic from packages, cardboard, Scotch tape, photocopies, writings made with marker pens, etc… The purpose of this work was to “give life to art outside its usual exhibition spaces”.
    LINKS
    http://archives.leslaboratoires.org/content/view/144/lang,fr/

  • FACES & PHASES | ZANELE MUHOLI

  • THE PIECE OF ART
    Title : Faces & Phases | Artist : Zanele Muholi | Date : from 2007 – ongoing | Location: South Africa | Medium : photography
    THE ARTIST
    Zanele Muholi is a South African artist and photographer born in 1972 in Umlazi, Durban. She is an active member involved in the LGBT cause. She works as an activist on the condition and identity of lesbians in her country.
    BACKGROUND
    Since the end of Apartheid, gay and lesbian human rights in South Africa are enshrined in the Constitution and the law. Gay marriage has become legal in 2006: South Africa, thus, became the fifth country in the world and the first in the African continent to legalise gay marriage. Nevertheless, discriminations and crimes against lesbians still remain widespread. Nowadays, members of the LGBT community want to show that their sexual identity is not conflicting with their African identity.
    EXPLANATION OF THE PIECE
    Consisting in a series of photographs in black and white, Faces & Phases has started in 2006. It compounds more than two hundred portraits of Black-African women, lesbians and transgender people. The project is entitled to protect, preserve and expose their visual stories: it gives them visibility and suggests positive and gratifying representations of the community in the media and exhibitions places. But this work is also meant to be a protest call against violences that Black-African lesbians and queers suffer: the artist photographs many people who underwent homophobic attacks.
    LINKS
    http://www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_VForm&FRM=Frame%3AARL_840

    Tumi Nkopane, KwaThema, Springs, Johannesburg, 2010

     

    Teekay Khumalo, BB Section, Umlazi, Durban, 2012

  • ASIAN WOMEN ARE NOT | SAD ASIAN GIRLS CLUB

  • THE PIECE OF ART
    Title : Asian Women are not | Artist : Sad Asian Girls Club | Date : 2015 | Location : United States | Medium : posters
    THE ARTIST COLLECTIVE
    The Sad Asian Girls Club is a group of artists, which was founded by two graphic design students of the Rhode Island School of Design (United States). They wanted to respond to the prejudices they had suffered in their school as well as in other institutions. They gather with their Asian and American friends and break the silence on their experiences through debates on racism and feminism. Thanks to different artistic projects, they wish to denounce, but also offer a greater visibility to Asian women from all origins around the world. Thus, they produced awareness-raising campaigns and intervened in many institutions.
    BACKGROUND
    In 2017, Asian-Americans people in the United States represent roughly five percent of the whole population. This community bears racism and stereotypes, but, at the same time,is often praised to be a discreet “model minority”, hardworking and well integrated. For women, this type of stereotypes often involves other sexist stereotypes leading to a double oppression as a result of their status of women from Asian origins.
    EXPLANATION OF THE PIECE
    The project kicked off with an online campaign: the group of artists asked Asian women to finish the following sentence “Asian women are not…”. Then, they received hundreds of suggestions and selected a hundred of them. Sentences refer to the fetishism towards Asian women, the myth of the exemplary integration and other stereotypes that they have to go through. This project targets further non-Asian people. The artists collected these stereotypes so that the public could realise that micro-aggressions do exist and they can be hurtful.
    LINKS
    http://www.sadcontent.com

     

  • CARCASS | PIOTR PAVLENSKI

  • THE PIECE OF ART
    Title : Carcass | Artist : Piotr Pavlenski | Date : 3rd May 2013 | Location : Legislative assembly of Saint-Petersburg, Russia | Medium : performance
    THE ARTIST
    Piotr Pavlenski is a Russian performer artist and a political activist born on 8th March 1984 in Leningrad. His work explicitly denounces the Russian government. Among his actions, he stitched his mouth during the Pussy Riot trial, nailed down his testicles on the pavement of the Red Square, cut a piece of his ear in front of the Serbsky centre. The artist uses his body to defy Russian authorities and condemn censorship, the arbitrary and authoritarian regime of Vladimir Poutine.
    “FIRST OF ALL, I WANT TO SHOW TO EVERYBODY THAT ACTIVISM IS EASY AND POSSIBLE. YOUR RAW MATERIALS MIGHT AS WELL BE YOUR DOMESTIC APPLIANCES THAN YOUR OWN BODY; YOU NEED NO MONEY TO CARRY OUT AN ACTIVIST ACTION. YOU JUST NEED A BIT OF MOTIVATION AND WILL TO GET OVER FEARS IMPOSED BY THOSE IN POWER. THEN, ACTIONS MAKE PEOPLE REACT AND CRITICISE. CALL IT A SOCIAL REFLEX, IF YOU WANT. THESE ACTIONS QUESTION WHAT IS HAPPENING AND GIVE AN ACCOUNT OF THE POWERFUL PROPAGANDA ESTABLISHED BY THE TOTALITARIAN IDEOLOGIES”.
    BACKGROUND
    This performance took place in response to a series of laws aiming to stop civic activism, more and more frequent intimidations towards the population, the rising number of political prisoners, anti-NGO laws, laws in favour of censorship, laws against “homosexual propaganda” and “anti-blasphemy” laws in Russia.
    EXPLANATION OF THE PIECE
    On 3rd May 2013, Piotr Pavlenski accomplished a performance to protest against the political repression that is led by the Russian government. His assistants carried him naked wound around barbed wire and put him in front of the main entrance of the Legislative Assembly of Saint Petersburg. The artist remained silent. In his barbed cocoon, the artist did not say a word to the remarks of the people watching at him until he had been set free by the police.

    This performance occurred against a series of repressive laws that did not target criminals but individual liberties. The human body is naked, like a carcass dressed in barbed wire, that same wire that was made up to protect a cattle. The artist wishes to make people aware that these laws are just like this wire: they imprison people in a toxic nest, depriving them of their human rights and liberties.
    LINKS
    http://www.liberation.fr/planete/2017/01/31/russie-piotr-pavlenski-les-zones-dombres-d-un-exil_1545381

     

  • THE PROGRESS | TINO SEHGAL

  • THE PIECE OF ART
    Title : The Progress | Artist : Tino Sehgal | Date : 2016 | Location : Palais de Tokyo, Paris (France) | Medium : performance
    THE ARTIST
    Tino Sehgal is a British and German artist born in 1976. The performance, the dance and more particularly, the choreographic part plays an important role in his work. However, the artist does not define himself as a “performer”, but as a “situation designer”. Tino Sehgal strives to challenge the limits of what makes the definition of a work of art by involving directly the public in his pieces. We can also see in them that he disapproves of the market value of art and the artist protects his private life: he cares to never leave a trace. He does not sell tickets to his exhibitions nor send invitations, he does not organise openings, he refuses to give interviews, his name is not written on any billboards… He also refuses that people film or take pictures during his exhibitions.
    EXPLANATION OF THE PIECE
    The visitor enters an empty room with white walls. He is welcomed by a teenager who asks him “What is progress?”. The visitor is invited to talk with the teenager while they show them the way to a second room. Here an adult is waiting for them. The teenager summarises their conversation and leaves the visitor. The adult then takes over from the teenager and continues the conversation with the visitor, while leading them into a third room where a senior is waiting for them. The adult summarises the situation to the senior and leaves the room. The senior tells a private anecdote to the visitor and walks him to the exit.

    EXPLANATION OF THE PIECE
    Throughout his works, Tino Sehgal raises questions about another possible economy for the art world. Indeed, his works are temporary and, thus, fall outside the scope of the art market economy. Nor a trace is left after the performances: no photographs, no videos, no posters, no tickets… Beside the trace left in our memory. His performances, thus, puts in value people meeting together, interactions, the power of speech as opposed to the art market. Perhaps that is what progress means according to the artist? Beside making encounters happen, Tino Sehgal’s works give them food for political, economic and social thinking about our contemporary societies.
    Therefore, in the situations Tino Sehgal designs the visitor is not a passive one anymore, simply visiting an exhibition, but living a fully-fledged experience.
    LINKS
    http://www.palaisdetokyo.com/fr/evenement/tino-sehgal

    Source : http://salonkritik.net/index_colaboradores.php

  • UnionCORPORATE FLAG | ADBUSTER

  • THE PIECE OF ART
    Title : Corporate flag | Artist : Adbusters (Shi-Zhe Yung) | Date : 2000 | Location : United States | Medium : printing on a fabric
    THE ARTIST COLLECTIVE
    Adbusters is a network of activists, writers and artists founded in 1989 in Canada. They are involved in numerous social and political causes, many of which are opposed to consumerism and capitalism. They promote a type of activism that is specific to our contemporary information age.
    BACKGROUND
    The piece of art appeared against the backdrop of modern capitalism, where everything seems to be good for selling and consumption. It should be noted that the political and economic background is part of the piece, as it is a criticism of modern capitalism.
    EXPLANATION OF THE PIECE
    At first glance, the piece looks like the flag of the United States. In fact, it is not the real one: the stars – normally representing the different Federation states – has been replaced by the logos of important American firms. The aim is to protest against what activists call the hegemony of firms and consumerism in the American policy. Since 2001, Adbusters has been suggesting to replace the real flag of the USA with the Corporate flag – that you can purchase on their website – during the Independence Day, which is a national bank holiday in the United States.
    LINKS
    https://en.wikipedia.org/wiki/Gran_Fury

    An activist waves the Corporate flag during a demonstration in Washington on the day of the second inauguration of the President George W. Bush.
    Source : https://fr.wikipedia.org/wiki/Corporate_flag

  • KISSING DOESN’T KILL: GREED AND INDIFFERENCE DO | Gran Fury

  • THE PIECE OF ART
    Title : Kissing doesn’t kill : greed and indifference do | Artist : Gran Fury | Date : 1988 | Location : New-York City, United States | Medium : Awareness-raising campaign against homophobia
    THE ARTIST COLLECTIVE
    Gran fury is a group of American artists and activists who are part of AIDS, an association fighting for the prevention of the HIV virus. The collective was founded in 1988 and was dissolved in 1995. It is made up of eleven members. The collective define themselves as a group of artists united by their anger and they are committed to using the power of art to fight Aids and homophobia.
    BACKGROUND
    The artist collective Gran Fury appeared in the United States in reaction to the constant homophobia and discourse accusing homosexual people of being responsible of the Aids outbreak, that discourse which is spread by the government and sustained by many institutions and citizens.
    EXPLANATION OF THE PIECE
    Gran Fury convey a political message, adapting the communication means and design of advertising and mass media to their own ends. They wish to share information about homosexuality and Aids with a very broad audience. The first step of the project was to send by post a card showing gay couples kissing each other. Next to the card, there was a sentence: Kissing doesn’t kill: greed and indifference do. On the back of the card it was written: “Greed of firms, inaction of government and indifference of people make Aids a political crisis”. Then, the collective used the usual means of advertising: billboards in the public space, on buses, stickers, t-shirts, posters, etc…
    LINKS
    https://en.wikipedia.org/wiki/Gran_Fury

  • UnionNO WALLS | AMMAR ABO BAKR

  • THE PIECE OF ART
    Title : No Walls | Artist : Amar Abo Bakr | Date : 2012 | Location : Cairo (Egypt) | Medium : Grafiti
    THE ARTIST
    Ammar Abu Bakr is a visual artist and teacher at the Fine Arts School of Louxor in Egypt. He also contributed to the famous mural painting in Mohamed Mahmoud street. In 2011, he began with other graffiti artists to create stencils and mural paintings as a protest against the police and in favour of the uprising. He took photo portraits of twelve people among the dozens who lost an eye in the battles and used the colours of the national flag in the background. In February 2012, along with artists such as Alaa Awad et Mohamed Khaled, he drew a great painting on the wall of the American University of Cairo in the Mohamed Mahmoud street representing the martyrs of the football team el Ahly who were killed in the Port Said Stadium confrontations. Ammar Abu Bakr found their portraits on Facebook and showed them with angel wings or framed them with a black stripe as a mark of grief. He says that these wings are the ones of the Coptic saints that we can see in churches, thus showing that the Egyptian heritage is at the same time Coptic, Pharaonic and Islamic.
    BACKGROUND
    While phone lines and Internet connexions were cut for the population, the art of graffiti spread in Egypt during the Arab Spring, although it existed before. If graffiti artists contributed to “inform” the revolution and the political events happening in the country, their tags also symbolised a form of artivism. In fact, within a few months graffiti artists have become influential activists, displaying satire, catch-phrases, powerful visuals to express their rejection of the government.

    EXPLANATION OF THE PIECE
    In March 2012 Ammar Abu Bakr launched the collective graffiti campaign “No Walls”, in protest against the walls set up by the army in the middle of Cairo. These seven walls blocked access to the Home Affairs Ministry after football supporters of the el Ahly football team died in the confrontations with the police in Port Said.
    Thus, on these walls artists drew and painted rainbows, kids playing, trees, smiles… They did it in trompe-l’oeil style, extending the street perspective and giving the illusion that the street is not blocked anymore. They wish to free the district and the inhabitants from the walls imposed by the army. One of the most well-known paintings is the trompe-l’oeil of the Sheikh Rihan street –– meticulously replicating the perspective of the street and the details architecture of the American University of Cairo.
    LINKS
    http://www.med-eu.org/documents/MED6/papers/THEPENIER.pdf http://wallsoffreedom.com/


    Source : http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20141216200450-5._MunirSayegh_AmmarAbouBakr.jpg

  • SANS-TITRE | THE YES MEN

  • THE PIECE OF ART
    Title : Sans-titre | Artist : The Yes Men | Date : 16 août 2001 | Location : Tampere (Finland), intervention during an international conference entitled “The clothes of the future” | Medium : Performance
    THE ARTIST COLLECTIVE
    The Yes Men (Jacques Servin & Igor Vamos) form an American artist and activist duo, that was born in 1993. The artists fight against capitalism, in particular against the privatisation of the public space and the relocation of firms. They also give performances against G. W. Bush and the Iraq war. The artists criticises neo-liberalism by using its own codes and make a mockery of them: hoaxes and caricatures are their favourite weapons.
    BACKGROUND
    In 1995, the WTO (World Trade Organisation) established international agreements enabling multinational companies to dissociate totally the place of goods production from their point-of-sale. Multinational firms can, therefore, delocalise their businesses in countries where social taxes and labour cost will be undeniably lower. In doing so, they have the guarantee to generate certain and immediate profits.
    DESCRIPTION OF THE PIECE
    The performance took place during an international conference in Tampere, the second biggest city of Finland, about the future of the textile industry and new technologies. During the conference, the two artists stepped in and pretended to be two representatives for the WTO: Mr Hank Hardy Hunruh and his assistant. Mr Unruh begins his intervention with a comparison supported by statistics about the cost of a slave and a worker from developing countries. “The WTO is against slavery. Indeed, if we add up the expenses for food, clothing and accommodation required for a slave, the sum of their expenses is obviously higher than the cost needed for an Asian child hired by a firm like Nike. That is the reason why the American Civil War turned out to be a waste of money for the United States, as slavery, that is unprofitable, would have disappeared anyway”. No reaction in the conference hall. Hank Hardy Unruh carried on with some compliments about Gandhi:

    “This idiot had harmful protectionist reflexes”.

    As he noticed no reaction in the audience, he then showed a golden prop in the shape of a phallus that stood as a symbol of a tool to control and subdue the employee.
    EXPLANATION OF THE PIECE
    This performance mocks multinational firms with a satirical discourse on the privatisation of the market and the apology of domestic slavery. The Yes Men use their favourite weapons: their sense of humour, pastiche and grotesqueness to denounce and debunk liberalism.
    LINKS
    Performance: https://www.youtube.com/watch?v=Eo-1W_8otS4


    Source : http://www.cinemetroart.com/film/film-the-yes-men-152.html

  • POWER : FROM THE MOUTHS OF THE OCCUPIED | PATRICE CULLORS

  • THE PIECE OF ART
    Title : Power : From the Mouths of the Occupied | Artist : Patrice Cullors | Date : 2015 | Location : United States | Medium : performance
    THE ARTIST
    The artist is the Afro-American artist and activist Patrisse Cullors. She is the co-founder of the “Black Lives Matter” movement born in 1983 in Los Angeles. Using techniques belonging to the theatre and dance world, she blends visuals with sounds in ways that enable to name her works as art-therapy, promoting healing through art. She is particularly committed to curing traumas caused by the State and fights against the systemic violence it inflicts. Her purpose is to transform acts of violence into something positive through art.
    BACKGROUND
    The Power – From the Mouths of the Occupied performance, conceived by Patrisse Cullors, took place during her involvement in the Afro-American activist movement of the “Black Lives Matter”. Founded in 2013 in the United States, this movement stands up to the systemic violence and racism towards Black people and organises many demonstrations against repeated killings of Black people perpetrated by policemen.
    EXPLANATION OF THE PIECE
    The performance displays stories of members of the Afro-American community who happened to be victims of the police and/or state violence. It is a collaborative performance that aims to reveal those stories that remain too often unspoken. The idea is to help the community, to heal traumas and bring about positive change through art. Their personal stories are combined with dialogue recordings, music, theatre and multimedia.
    LINKS
    Performance :

    https://seattlechannel.org/FrontRow/episodes?videoid=x68750

    http://patrissecullors.com/bio/

     

  • HOTEL EUROPA | GTO LX – NETWORK TOGETHER

  • THE PIECE OF ART
    title : billboard campaign against the government propaganda| artist: twotailed dog party | date: 2016 | Place: hungary
    THE ARTIST
    The Two tailed dog Party started as a street art group in Szeged, at a bigger town in Hungary, for some years now they define themselves as a party. Their program consists of providing eternal life by abolish diseases, the general and total relief of taxation and payment without working. They create creative actions, renovate the public spaces and  make guerilla gardening, among other missions.
    BACKGROUND
    In 2016 the Hungarian Government launched a massive anti-immigration billboard campaign. The slogans were calling attention to the respect of the Hungarian national culture, the workplaces of the people and the nationallaws. The billboards texts were addressing the immigrants directly, although it was all in Hungarian, and all the different phrases started with the same question: Did you know? The campaign was important part in the creation of the central anti – refugee, anti – migrant narrative in Hungary.
    EXPLANATION OF THE PIECE

    As a reaction for the anti-immigration campaign they crow funded money to create billboards with information they consider important the people should know (following the question: Did you know?) and created messages that either absurd or has some connection to the messages of the government and migration, like “There is war in Syria” or “You can come to Hungary, we already work in the UK” or “70 weasel can easily occlude an average size tunnel”.
    LINKS
    http://ketfarkukutya.com/?page_id=1233

    http://patrissecullors.com/bio/

  • CHALK TV & STREET CHANNEL| PNEUMA SZÖV.

  • THE PIECE OF ART

    title: chalk tv, street channel | artist: pneuma szöv./mókusok | date: 2014/2016 | Place: budapest, hungary

    THE ARTIST

    Pneuma Szöv. is a Budapest based international artist cooperative and network that defines the term Pneuma (ancient Greek word for “breath”, “spirit” or “soul”) as a quest for free space created through common breathing and through the alchemy of art.

    BACKGROUND

    Since 2008, Pneuma Szöv. has been creating temporary common spaces, where people are inspired to resist the segregations and constraints of society through imagination and play. Pneuma Szöv.’s work is a chain of actions, nomadic street media shows and theatrical events on the verge of activism, encouraging people to take part in shaping the conditions in which they live.

    EXPLANATION OF THE PIECE

    Both of the actions consist of several ocassions, are performed in the public space and spread also through social media channels. During the Chalk TV action questions and messages were written on the ground wth chalk, asking the locals about their opinion. The authorities, not having other tool for repression, interviened with a cleaning machine to erase the messages written by the group. Street Channel focuses on news related to the locals, discussing questions of housing, cooking, talking with activists in the frame of a talkshow, recorded on a square in front of a Market hall.

    LINKS

    films about the actions :

    page :

    http://pneumaszov.org/hu/

  • BILLBOARD CAMPAIGN | TWO TAILED DOG PARTY

  • THE PIECE OF ART
    title : billboard campaign against the government propaganda| artist: twotailed dog party | date: 2016 | Place: hungary
    THE ARTIST
    The Two tailed dog Party started as a street art group in Szeged, at a bigger town in Hungary, for some years now they define themselves as a party. Their program consists of providing eternal life by abolish diseases, the general and total relief of taxation and payment without working. They create creative actions, renovate the public spaces and  make guerilla gardening, among other missions.
    BACKGROUND
    In 2016 the Hungarian Government launched a massive anti-immigration billboard campaign. The slogans were calling attention to the respect of the Hungarian national culture, the workplaces of the people and the nationallaws. The billboards texts were addressing the immigrants directly, although it was all in Hungarian, and all the different phrases started with the same question: Did you know? The campaign was important part in the creation of the central anti – refugee, anti – migrant narrative in Hungary.
    EXPLANATION OF THE PIECE

    As a reaction for the anti-immigration campaign they crow funded money to create billboards with information they consider important the people should know (following the question: Did you know?) and created messages that either absurd or has some connection to the messages of the government and migration, like “There is war in Syria” or “You can come to Hungary, we already work in the UK” or “70 weasel can easily occlude an average size tunnel”.
    LINKS
    http://ketfarkukutya.com/?page_id=1233

    http://patrissecullors.com/bio/

  • BAILE DE FAVELA- RESPOSTA | MARIANA NOLASCO

  • THE PIECE OF ART
    title: Baile de Favela – Resposta| artist: Mariana Nolasco | date: uploaded at may 2016 | Place: Brasil /youtube
    THE ARTIST
    Mariana Nolasco is an example for this youtube viral video art that fights sexism
    BACKGROUND
    The Brazilian Funk is common in the Favelas (Rio de Janeiro) where also the number of teen pregnancies (and rape) have been increasing day by day, becoming a national problem, and turning Brazil into one of the worst numbers on this statistics.
    In the favelas, poverty, drugs, arms, poor educational system, no health care, are the most common problems that influence the art created in this same place. So the Funkeiros, sing about what they see around them, normally, over sexualizing women in the lyrics and on the video clips which actually started a new dance trend called daggering (where men stick their reproductive organs into the women – in a very explicit way).
    For the huge spread of sexist speech and other hate speech by these very popular songs, some youtuber decided to create a counter narrative to these songs – where they grab the lyrics of the music and they turn into something that can be used for awareness raising.
    One of the things that the youtubers clearly state, is that they mean to disrespect  the authors of the songs, and by doing this they are just trying to include more love on the world and to offer their opinion on the topic.

    LINKS
    Original video

    Response Video

  • PIMP MY CARROÇA | MUNDANO

  • THE PIECE OF ART

    title: Pimp my Carroca| artist: mundano | date: from 2012 on | Place: Sao Paolo, Rio de Janeiro, curitiba states in Brasil

    THE ARTIST

    The movement Pimp my carroça was initiated my a graffity artist Mundano, who believes that the catadores are working for the whole society and they are heroes without recognition. For now other artists, companies and volunteers joined the movement.

    BACKGROUND
    In Brazil and in other Latin-American countries waste is creating huge problems. The catadores (waste collectors) are people who are living in a marginalized position, earning very little money from the waste they collect on the streets, surrounded by the prejudices of the rest of the
    EXPLANATION OF THE PIECE

    The aim is to give voice and visibility to these people, support their self esteem and raise recognition among the maiority society about their work in recycling and environmental protection. After painting  more than 200 cars Mundano launched a fundraising campaign to provide tools and renovation for the waste collectors’ cars, involving 800 volunteers and graffity artists. In Brasil the movements focuses on Sao Paolo, Rio de Janeiro and Curitiba, but Mundano calls attention to all the people living and working in similar conditions all around the world, to valorize them and the effort they do for the society.

    LINKS

    http://pimpmycarroca.com

    https://www.ted.com/talks/mundano_pimp_my_trash_cart

  • DO WOMEN HAVE TO BE NAKED TO GET INTO THE MET. MUSEUM? | GUERILLA GIRLS

  • THE PIECE OF ART

    title: Do women have to be naked to get into the met. musem ? artist: guerilla girls | date: 1989/2011 | Place: new york (usa)

    THE ARTIST

    Guerilla Girls is a collective of women, based in New York, USA, who produce visual campaigns, provides workshops, their main topic is the exclusion and discrimination of women in the art world. The anonymous women artists always wear masks of gorillas and have names of famous former female artists.

    BACKGROUND

    Exclusion of women artists from the prestigious institutions and the art world.

    “(…) That work is more than a quarter-century old, but the Guerrilla Girls have updated it over the years – with the results just as discouraging. The 2011 version states that women represent 4 percent of the artists in the modern-art sections of the Metropolitan Museum of Art but 76 percent of the nudes.” (guerrillagirls.com)

    EXPLANATION OF THE PIECE

    The group began in 1984 as a response to The Museum of Modern Art’s exhibit An International Survery of Painting and Sculpture where 100% of the artists exhibited were white and less than 8% were women. The members of guerilla girls are calling attention and challenge the hegemony of the art world, they also fight against racial and political discrimination. They use posters, street art, videos and other easy and accessible channels to transmit their mostly ironic messages, organize street actions, protests and forums, edit books.

     

    LINKS

    https://guerrillagirls.squarespace.com/#open

    Guide how to behave (manifesto kind of video)

     

    complain department

     

    (sources of the videos and photos too: guerillagirls.com)

    https://www.instagram.com/guerrillagirls/

  • KNOWLEDGE IS POWER | KRISTOF HORVATH

  • THE PIECE OF ART

    title: a tudás6alom (knowledge is power)| artist: kristóf hováth and the kids | date: 2014 | Place: hungary

    THE ARTIST

    Kristóf Horváth is a slammer and actor

    BACKGROUND

    In Hungary the Roma youngsters often leave the school before gaining qualification. Discrimination and negative stereotypes in the education system are strongly present, even after many years of different attempts of integration projects.

     

    EXPLANATION OF THE PIECE

    The original project consists on one hand of professional music videos presenting slam poetry or traditional folk songs where the text encourages Roma youngsters to learn, not to feel ashamed in school, because as the main message says: knowledge is power.  The song calls to combat prejudices and discrimination, speaking to young people, and in the same time raising awareness among the majority of society as well on the inequalities.

    Kristóf Horváth (Színész Bob) is a slammer, actor, working in various artistic-social projects.

     

    LINKS

    Vak romák a romok alatt/kitapogatom a rokonokat/a vakeromtól pereg a vakolat/biliket borítok/leverek falakat/teneked szorítok/nevelek szavakat/keverek savakat/ami maj’ lemarat/lássuk mit takar az akaratod

    Nem a te hibád az, hogy az agyad lékelt,
    mennyi kell neked ahhoz, hogy megelégeld,
    hogy csupa korom a rokonokon a korona?
    Vagy a korom az a roma aroma?
    Tesó! Mikor lesz már eleged magadból?
    Abból, hogy elnézik ha valamit nem tudsz?
    Abból, hogy a vártnál jobban teljesítesz, ha nem lettél bűnöző vagy koldus?
    Gyerünk testvér, gyerünk ne add fel!
    Aki hagyja magát megtörni, az nem ember!
    Leszeged a fejedet, azt megy a megveszekedett,
    egyvalamit nem vehetnek el tőled: az eszedet!
    Kitakarítok, kiteregetem a szennyest,
    ha lefele kerekítem a jegyedet az egyes.
    Fogd már fel végre, hogy a kitűnő a cél!
    Csak így érheted el azt, hogy közepesen élj

    A jó televízió tudja, mi kell a népnek:
    hamis pózok meg kamu példaképek.
    Sok suttyó celebet látsz, tehetetlen bábokat,
    megmutatják, hogy cseréld gagyibbra minden álmodat
    Mondjak valamit ami félelmetes?
    A tudatlanságod mindenkinek kényelmesebb.
    Aki egy sort se tud olvasni, hogyan olvasna a sorok között?
    Aki hülye, az is marad,
    önmagát tartja a létminimum alatt.
    Éhezéssel tartanak butaságban téged,
    akkor lesz ember belőled amikor ezt megérted,
    ha most választanod kell, hogy olvasás vagy evés,
    válaszd az olvasást és megszűnik az éhezés 2x

    Furcsa lesz majd elsőre, de hozza szoksz a szerephez:
    ha fele annyit szólítanak, kétszer annyit jelentkezz!
    Stréberek vagyunk lehet, de nem halunk éhen-
    a tudás mindig hatalom, sohase szégyen!
    A tudás az hatalom, a tudás hatalom,
    a tudás az hatalom, sohase szégyen 2x

    küzdjéé magadé’
    küzdjé’ magadé’
    küzdjé’ magadé ne fossá’
    küzdjé’ magadé, védd meg az igazadat
    az igazat az igazat az igazat az igazat

    a szavadat adod-e, hogy bedobod a magadét?
    védd meg az igazad az igazadat védd meg
    mér’ lopod a napot ha van elég dolgod?
    gyúrd ki az agyadat, hogy értsed a fifikát
    védd meg az eszedet ha dübörög a butítás
    undok az indok, zakatol az uszítás
    játszik a náci, kilátszik a cikiség

    Mutassa már meg valaki,
    hol az a jó csávó
    aki hogy színházba vigyen
    Kijön a kocsmából?
    Napközben melózik,
    de este mindig ráér,
    az esze véd meg engem,
    nem az, hogy ordenáré.
    Szerintem szexi az, aki eszes-
    nem rafkós, hanem fineszes!
    Az elméje éles, nem a pengéje,
    és ne adj’ Isten a költészet a gyengéje
    Ciki! Ciki!
    Nem ez a ciki, hanem ha bunkó vagy!
    Ha a művészt gagyinak találod,
    a gagyit meg túl jónak.
    Életedbe’ nem olvastál el eddig még 20 oldalt,
    Olvasni tudsz? Jobb lesz ha futsz!
    De ahhoz is válaszd a túloldalt.

    Elegem van már a sok gengszter rapperből,
    mondjál már el valami verset! Bármit ami megy fejből!
    Nagyon felizgulsz egy csőre töltött fegyvertől?
    35 év börtönben a hátralévő negyvenből?
    „Az igazi kemények rád nyitják a bicskát”-
    ahogy öregszel meglátod majd, hogy ők lettek a csicskák.
    Nehogymá’ az legyen menő, hogy te vagy a legnagyobb sutyerák-
    a stílusod nem eredeti, hanem a You Tube-ról guberált.

    Kihúzhatnád a gödörből az egész nemzedéket,
    csak légy okosabb azoknál, akik lenéznek téged.
    A társadalmi problémákra tudom a megoldást:
    okozz minden embernek száz pozitív csalódást!
    (Dal)
    Tanulj jól, de tanulj jól, de tanulj jól!
    Hogy az agyad hamar le ne konyuljon!
    Azért kéne tanulni,
    ne tudjanak szapulni,
    ne kelljen, mint szar a fűben lapulni!

  • BILLBOARD CAMPAIGN | TWO TAILED DOG PARTY

  • THE PIECE OF ART
    title : billboard campaign against the government propaganda| artist: twotailed dog party | date: 2016 | Place: hungary
    THE ARTIST
    The Two tailed dog Party started as a street art group in Szeged, at a bigger town in Hungary, for some years now they define themselves as a party. Their program consists of providing eternal life by abolish diseases, the general and total relief of taxation and payment without working. They create creative actions, renovate the public spaces and  make guerilla gardening, among other missions.
    BACKGROUND
    In 2016 the Hungarian Government launched a massive anti-immigration billboard campaign. The slogans were calling attention to the respect of the Hungarian national culture, the workplaces of the people and the nationallaws. The billboards texts were addressing the immigrants directly, although it was all in Hungarian, and all the different phrases started with the same question: Did you know? The campaign was important part in the creation of the central anti – refugee, anti – migrant narrative in Hungary.
    EXPLANATION OF THE PIECE

    As a reaction for the anti-immigration campaign they crow funded money to create billboards with information they consider important the people should know (following the question: Did you know?) and created messages that either absurd or has some connection to the messages of the government and migration, like “There is war in Syria” or “You can come to Hungary, we already work in the UK” or “70 weasel can easily occlude an average size tunnel”.
    LINKS
    http://ketfarkukutya.com/?page_id=1233

    http://patrissecullors.com/bio/

  • BAILE DE FAVELA- RESPOSTA | MARIANA NOLASCO

  • THE PIECE OF ART
    title: Baile de Favela – Resposta| artist: Mariana Nolasco | date: uploaded at may 2016 | Place: Brasil /youtube
    THE ARTIST
    Mariana Nolasco is an example for this youtube viral video art that fights sexism
    BACKGROUND
    The Brazilian Funk is common in the Favelas (Rio de Janeiro) where also the number of teen pregnancies (and rape) have been increasing day by day, becoming a national problem, and turning Brazil into one of the worst numbers on this statistics.
    In the favelas, poverty, drugs, arms, poor educational system, no health care, are the most common problems that influence the art created in this same place. So the Funkeiros, sing about what they see around them, normally, over sexualizing women in the lyrics and on the video clips which actually started a new dance trend called daggering (where men stick their reproductive organs into the women – in a very explicit way).
    For the huge spread of sexist speech and other hate speech by these very popular songs, some youtuber decided to create a counter narrative to these songs – where they grab the lyrics of the music and they turn into something that can be used for awareness raising.
    One of the things that the youtubers clearly state, is that they mean to disrespect  the authors of the songs, and by doing this they are just trying to include more love on the world and to offer their opinion on the topic.

    LINKS
    Original video

    Response Video

  • PIMP MY CARROÇA | MUNDANO

  • THE PIECE OF ART

    title: Pimp my Carroca| artist: mundano | date: from 2012 on | Place: Sao Paolo, Rio de Janeiro, curitiba states in Brasil

    THE ARTIST

    The movement Pimp my carroça was initiated my a graffity artist Mundano, who believes that the catadores are working for the whole society and they are heroes without recognition. For now other artists, companies and volunteers joined the movement.

    BACKGROUND
    In Brazil and in other Latin-American countries waste is creating huge problems. The catadores (waste collectors) are people who are living in a marginalized position, earning very little money from the waste they collect on the streets, surrounded by the prejudices of the rest of the
    EXPLANATION OF THE PIECE

    The aim is to give voice and visibility to these people, support their self esteem and raise recognition among the maiority society about their work in recycling and environmental protection. After painting  more than 200 cars Mundano launched a fundraising campaign to provide tools and renovation for the waste collectors’ cars, involving 800 volunteers and graffity artists. In Brasil the movements focuses on Sao Paolo, Rio de Janeiro and Curitiba, but Mundano calls attention to all the people living and working in similar conditions all around the world, to valorize them and the effort they do for the society.

    LINKS

    http://pimpmycarroca.com

    https://www.ted.com/talks/mundano_pimp_my_trash_cart

  • DO WOMEN HAVE TO BE NAKED TO GET INTO THE MET. MUSEUM? | GUERILLA GIRLS

  • THE PIECE OF ART

    title: Do women have to be naked to get into the met. musem ? artist: guerilla girls | date: 1989/2011 | Place: new york (usa)

    THE ARTIST

    Guerilla Girls is a collective of women, based in New York, USA, who produce visual campaigns, provides workshops, their main topic is the exclusion and discrimination of women in the art world. The anonymous women artists always wear masks of gorillas and have names of famous former female artists.

    BACKGROUND

    Exclusion of women artists from the prestigious institutions and the art world.

    “(…) That work is more than a quarter-century old, but the Guerrilla Girls have updated it over the years – with the results just as discouraging. The 2011 version states that women represent 4 percent of the artists in the modern-art sections of the Metropolitan Museum of Art but 76 percent of the nudes.” (guerrillagirls.com)

    EXPLANATION OF THE PIECE

    The group began in 1984 as a response to The Museum of Modern Art’s exhibit An International Survery of Painting and Sculpture where 100% of the artists exhibited were white and less than 8% were women. The members of guerilla girls are calling attention and challenge the hegemony of the art world, they also fight against racial and political discrimination. They use posters, street art, videos and other easy and accessible channels to transmit their mostly ironic messages, organize street actions, protests and forums, edit books.

     

    LINKS

    https://guerrillagirls.squarespace.com/#open

    Guide how to behave (manifesto kind of video)

     

    complain department

     

    (sources of the videos and photos too: guerillagirls.com)

    https://www.instagram.com/guerrillagirls/

  • KNOWLEDGE IS POWER | KRISTOF HORVATH

  • THE PIECE OF ART

    title: a tudás6alom (knowledge is power)| artist: kristóf hováth and the kids | date: 2014 | Place: hungary

    THE ARTIST

    Kristóf Horváth is a slammer and actor

    BACKGROUND

    In Hungary the Roma youngsters often leave the school before gaining qualification. Discrimination and negative stereotypes in the education system are strongly present, even after many years of different attempts of integration projects.

     

    EXPLANATION OF THE PIECE

    The original project consists on one hand of professional music videos presenting slam poetry or traditional folk songs where the text encourages Roma youngsters to learn, not to feel ashamed in school, because as the main message says: knowledge is power.  The song calls to combat prejudices and discrimination, speaking to young people, and in the same time raising awareness among the majority of society as well on the inequalities.

    Kristóf Horváth (Színész Bob) is a slammer, actor, working in various artistic-social projects.

     

    LINKS

    Vak romák a romok alatt/kitapogatom a rokonokat/a vakeromtól pereg a vakolat/biliket borítok/leverek falakat/teneked szorítok/nevelek szavakat/keverek savakat/ami maj’ lemarat/lássuk mit takar az akaratod

    Nem a te hibád az, hogy az agyad lékelt,
    mennyi kell neked ahhoz, hogy megelégeld,
    hogy csupa korom a rokonokon a korona?
    Vagy a korom az a roma aroma?
    Tesó! Mikor lesz már eleged magadból?
    Abból, hogy elnézik ha valamit nem tudsz?
    Abból, hogy a vártnál jobban teljesítesz, ha nem lettél bűnöző vagy koldus?
    Gyerünk testvér, gyerünk ne add fel!
    Aki hagyja magát megtörni, az nem ember!
    Leszeged a fejedet, azt megy a megveszekedett,
    egyvalamit nem vehetnek el tőled: az eszedet!
    Kitakarítok, kiteregetem a szennyest,
    ha lefele kerekítem a jegyedet az egyes.
    Fogd már fel végre, hogy a kitűnő a cél!
    Csak így érheted el azt, hogy közepesen élj

    A jó televízió tudja, mi kell a népnek:
    hamis pózok meg kamu példaképek.
    Sok suttyó celebet látsz, tehetetlen bábokat,
    megmutatják, hogy cseréld gagyibbra minden álmodat
    Mondjak valamit ami félelmetes?
    A tudatlanságod mindenkinek kényelmesebb.
    Aki egy sort se tud olvasni, hogyan olvasna a sorok között?
    Aki hülye, az is marad,
    önmagát tartja a létminimum alatt.
    Éhezéssel tartanak butaságban téged,
    akkor lesz ember belőled amikor ezt megérted,
    ha most választanod kell, hogy olvasás vagy evés,
    válaszd az olvasást és megszűnik az éhezés 2x

    Furcsa lesz majd elsőre, de hozza szoksz a szerephez:
    ha fele annyit szólítanak, kétszer annyit jelentkezz!
    Stréberek vagyunk lehet, de nem halunk éhen-
    a tudás mindig hatalom, sohase szégyen!
    A tudás az hatalom, a tudás hatalom,
    a tudás az hatalom, sohase szégyen 2x

    küzdjéé magadé’
    küzdjé’ magadé’
    küzdjé’ magadé ne fossá’
    küzdjé’ magadé, védd meg az igazadat
    az igazat az igazat az igazat az igazat

    a szavadat adod-e, hogy bedobod a magadét?
    védd meg az igazad az igazadat védd meg
    mér’ lopod a napot ha van elég dolgod?
    gyúrd ki az agyadat, hogy értsed a fifikát
    védd meg az eszedet ha dübörög a butítás
    undok az indok, zakatol az uszítás
    játszik a náci, kilátszik a cikiség

    Mutassa már meg valaki,
    hol az a jó csávó
    aki hogy színházba vigyen
    Kijön a kocsmából?
    Napközben melózik,
    de este mindig ráér,
    az esze véd meg engem,
    nem az, hogy ordenáré.
    Szerintem szexi az, aki eszes-
    nem rafkós, hanem fineszes!
    Az elméje éles, nem a pengéje,
    és ne adj’ Isten a költészet a gyengéje
    Ciki! Ciki!
    Nem ez a ciki, hanem ha bunkó vagy!
    Ha a művészt gagyinak találod,
    a gagyit meg túl jónak.
    Életedbe’ nem olvastál el eddig még 20 oldalt,
    Olvasni tudsz? Jobb lesz ha futsz!
    De ahhoz is válaszd a túloldalt.

    Elegem van már a sok gengszter rapperből,
    mondjál már el valami verset! Bármit ami megy fejből!
    Nagyon felizgulsz egy csőre töltött fegyvertől?
    35 év börtönben a hátralévő negyvenből?
    „Az igazi kemények rád nyitják a bicskát”-
    ahogy öregszel meglátod majd, hogy ők lettek a csicskák.
    Nehogymá’ az legyen menő, hogy te vagy a legnagyobb sutyerák-
    a stílusod nem eredeti, hanem a You Tube-ról guberált.

    Kihúzhatnád a gödörből az egész nemzedéket,
    csak légy okosabb azoknál, akik lenéznek téged.
    A társadalmi problémákra tudom a megoldást:
    okozz minden embernek száz pozitív csalódást!
    (Dal)
    Tanulj jól, de tanulj jól, de tanulj jól!
    Hogy az agyad hamar le ne konyuljon!
    Azért kéne tanulni,
    ne tudjanak szapulni,
    ne kelljen, mint szar a fűben lapulni!

  • CHALK TV & STREET CHANNEL| PNEUMA SZÖV.

  • THE PIECE OF ART

    title: chalk tv, street channel | artist: pneuma szöv./mókusok | date: 2014/2016 | Place: budapest, hungary

    THE ARTIST

    Pneuma Szöv. is a Budapest based international artist cooperative and network that defines the term Pneuma (ancient Greek word for “breath”, “spirit” or “soul”) as a quest for free space created through common breathing and through the alchemy of art.

    BACKGROUND

    Since 2008, Pneuma Szöv. has been creating temporary common spaces, where people are inspired to resist the segregations and constraints of society through imagination and play. Pneuma Szöv.’s work is a chain of actions, nomadic street media shows and theatrical events on the verge of activism, encouraging people to take part in shaping the conditions in which they live.

    EXPLANATION OF THE PIECE

    Both of the actions consist of several ocassions, are performed in the public space and spread also through social media channels. During the Chalk TV action questions and messages were written on the ground wth chalk, asking the locals about their opinion. The authorities, not having other tool for repression, interviened with a cleaning machine to erase the messages written by the group. Street Channel focuses on news related to the locals, discussing questions of housing, cooking, talking with activists in the frame of a talkshow, recorded on a square in front of a Market hall.

    LINKS

    films about the actions :

    page :

    http://pneumaszov.org/hu/

  • HOTEL EUROPA | GTO LX – NETWORK TOGETHER

  • THE PIECE OF ART
    title : billboard campaign against the government propaganda| artist: twotailed dog party | date: 2016 | Place: hungary
    THE ARTIST
    The Two tailed dog Party started as a street art group in Szeged, at a bigger town in Hungary, for some years now they define themselves as a party. Their program consists of providing eternal life by abolish diseases, the general and total relief of taxation and payment without working. They create creative actions, renovate the public spaces and  make guerilla gardening, among other missions.
    BACKGROUND
    In 2016 the Hungarian Government launched a massive anti-immigration billboard campaign. The slogans were calling attention to the respect of the Hungarian national culture, the workplaces of the people and the nationallaws. The billboards texts were addressing the immigrants directly, although it was all in Hungarian, and all the different phrases started with the same question: Did you know? The campaign was important part in the creation of the central anti – refugee, anti – migrant narrative in Hungary.
    EXPLANATION OF THE PIECE

    As a reaction for the anti-immigration campaign they crow funded money to create billboards with information they consider important the people should know (following the question: Did you know?) and created messages that either absurd or has some connection to the messages of the government and migration, like “There is war in Syria” or “You can come to Hungary, we already work in the UK” or “70 weasel can easily occlude an average size tunnel”.
    LINKS
    http://ketfarkukutya.com/?page_id=1233

    http://patrissecullors.com/bio/

  • MUSÉE PRÉCAIRE ALBINET | THOMAS HIRSHHORN

  • THE PIECE OF ART
    Title : Musée précaire d’Albinet (which means in english : the temporary museum of Albinet) | Artist : Thomas Hirshborn, order of the Laboratoire d’Aubervilliers, directed by Yvane Chapuis | Date : 19/04/14 – 04/06/14 | Location : the housing area of Albinet in Aubervilliers (France)
    THE ARTIST
    Thomas Hirshhorn is a swiss artist and also an activist born on 16 may 1957. He lives and works in Paris. He focuses on the creation of handmade temporary sculptures. They are made from materials used in our daily lives. He wishes to give birth to his works outside of the traditional exhibition areas.
    BACKGROUND
    The majority of French museums are located inside Paris. In addition, these museums are visited by the part of the French population who has the easiest access to exhibitions (managers, students, etc.). Museums struggle to reach the young people who are coming from disadvantaged neighbourhoods.
    EXPLANATION OF THE PIECE
    Le Musée Précaire d’Albinet is a piece of art that was made for a short-term period and created in the public space. The piece itself is an exhibition space which displays works of artists such as Duchamp, Malevitch, Mondrian, Dali, Beuys, Le Corbusier, Warhol, Léger. The museum was designed at the foot of the buildings of Albinet, a poor neighbourhood in the Parisian suburbs. Young people were recruited on the spot, as people were needed to be in charge of the security, the installing, deinstalling of the exhibition as well as to liven up the space. The museum was created with modest materials: wood, plastic from packages, cardboard, Scotch tape, photocopies, writings made with marker pens, etc… The purpose of this work was to “give life to art outside its usual exhibition spaces”.
    LINKS
    http://archives.leslaboratoires.org/content/view/144/lang,fr/

  • FACES & PHASES | ZANELE MUHOLI

  • THE PIECE OF ART
    Title : Faces & Phases | Artist : Zanele Muholi | Date : from 2007 – ongoing | Location: South Africa | Medium : photography
    THE ARTIST
    Zanele Muholi is a South African artist and photographer born in 1972 in Umlazi, Durban. She is an active member involved in the LGBT cause. She works as an activist on the condition and identity of lesbians in her country.
    BACKGROUND
    Since the end of Apartheid, gay and lesbian human rights in South Africa are enshrined in the Constitution and the law. Gay marriage has become legal in 2006: South Africa, thus, became the fifth country in the world and the first in the African continent to legalise gay marriage. Nevertheless, discriminations and crimes against lesbians still remain widespread. Nowadays, members of the LGBT community want to show that their sexual identity is not conflicting with their African identity.
    EXPLANATION OF THE PIECE
    Consisting in a series of photographs in black and white, Faces & Phases has started in 2006. It compounds more than two hundred portraits of Black-African women, lesbians and transgender people. The project is entitled to protect, preserve and expose their visual stories: it gives them visibility and suggests positive and gratifying representations of the community in the media and exhibitions places. But this work is also meant to be a protest call against violences that Black-African lesbians and queers suffer: the artist photographs many people who underwent homophobic attacks.
    LINKS
    http://www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_VForm&FRM=Frame%3AARL_840

    Tumi Nkopane, KwaThema, Springs, Johannesburg, 2010

     

    Teekay Khumalo, BB Section, Umlazi, Durban, 2012

  • ASIAN WOMEN ARE NOT | SAD ASIAN GIRLS CLUB

  • THE PIECE OF ART
    Title : Asian Women are not | Artist : Sad Asian Girls Club | Date : 2015 | Location : United States | Medium : posters
    THE ARTIST COLLECTIVE
    The Sad Asian Girls Club is a group of artists, which was founded by two graphic design students of the Rhode Island School of Design (United States). They wanted to respond to the prejudices they had suffered in their school as well as in other institutions. They gather with their Asian and American friends and break the silence on their experiences through debates on racism and feminism. Thanks to different artistic projects, they wish to denounce, but also offer a greater visibility to Asian women from all origins around the world. Thus, they produced awareness-raising campaigns and intervened in many institutions.
    BACKGROUND
    In 2017, Asian-Americans people in the United States represent roughly five percent of the whole population. This community bears racism and stereotypes, but, at the same time,is often praised to be a discreet “model minority”, hardworking and well integrated. For women, this type of stereotypes often involves other sexist stereotypes leading to a double oppression as a result of their status of women from Asian origins.
    EXPLANATION OF THE PIECE
    The project kicked off with an online campaign: the group of artists asked Asian women to finish the following sentence “Asian women are not…”. Then, they received hundreds of suggestions and selected a hundred of them. Sentences refer to the fetishism towards Asian women, the myth of the exemplary integration and other stereotypes that they have to go through. This project targets further non-Asian people. The artists collected these stereotypes so that the public could realise that micro-aggressions do exist and they can be hurtful.
    LINKS
    http://www.sadcontent.com

     

  • CARCASS | PIOTR PAVLENSKI

  • THE PIECE OF ART
    Title : Carcass | Artist : Piotr Pavlenski | Date : 3rd May 2013 | Location : Legislative assembly of Saint-Petersburg, Russia | Medium : performance
    THE ARTIST
    Piotr Pavlenski is a Russian performer artist and a political activist born on 8th March 1984 in Leningrad. His work explicitly denounces the Russian government. Among his actions, he stitched his mouth during the Pussy Riot trial, nailed down his testicles on the pavement of the Red Square, cut a piece of his ear in front of the Serbsky centre. The artist uses his body to defy Russian authorities and condemn censorship, the arbitrary and authoritarian regime of Vladimir Poutine.
    “FIRST OF ALL, I WANT TO SHOW TO EVERYBODY THAT ACTIVISM IS EASY AND POSSIBLE. YOUR RAW MATERIALS MIGHT AS WELL BE YOUR DOMESTIC APPLIANCES THAN YOUR OWN BODY; YOU NEED NO MONEY TO CARRY OUT AN ACTIVIST ACTION. YOU JUST NEED A BIT OF MOTIVATION AND WILL TO GET OVER FEARS IMPOSED BY THOSE IN POWER. THEN, ACTIONS MAKE PEOPLE REACT AND CRITICISE. CALL IT A SOCIAL REFLEX, IF YOU WANT. THESE ACTIONS QUESTION WHAT IS HAPPENING AND GIVE AN ACCOUNT OF THE POWERFUL PROPAGANDA ESTABLISHED BY THE TOTALITARIAN IDEOLOGIES”.
    BACKGROUND
    This performance took place in response to a series of laws aiming to stop civic activism, more and more frequent intimidations towards the population, the rising number of political prisoners, anti-NGO laws, laws in favour of censorship, laws against “homosexual propaganda” and “anti-blasphemy” laws in Russia.
    EXPLANATION OF THE PIECE
    On 3rd May 2013, Piotr Pavlenski accomplished a performance to protest against the political repression that is led by the Russian government. His assistants carried him naked wound around barbed wire and put him in front of the main entrance of the Legislative Assembly of Saint Petersburg. The artist remained silent. In his barbed cocoon, the artist did not say a word to the remarks of the people watching at him until he had been set free by the police.

    This performance occurred against a series of repressive laws that did not target criminals but individual liberties. The human body is naked, like a carcass dressed in barbed wire, that same wire that was made up to protect a cattle. The artist wishes to make people aware that these laws are just like this wire: they imprison people in a toxic nest, depriving them of their human rights and liberties.
    LINKS
    http://www.liberation.fr/planete/2017/01/31/russie-piotr-pavlenski-les-zones-dombres-d-un-exil_1545381

     

  • THE PROGRESS | TINO SEHGAL

  • THE PIECE OF ART
    Title : The Progress | Artist : Tino Sehgal | Date : 2016 | Location : Palais de Tokyo, Paris (France) | Medium : performance
    THE ARTIST
    Tino Sehgal is a British and German artist born in 1976. The performance, the dance and more particularly, the choreographic part plays an important role in his work. However, the artist does not define himself as a “performer”, but as a “situation designer”. Tino Sehgal strives to challenge the limits of what makes the definition of a work of art by involving directly the public in his pieces. We can also see in them that he disapproves of the market value of art and the artist protects his private life: he cares to never leave a trace. He does not sell tickets to his exhibitions nor send invitations, he does not organise openings, he refuses to give interviews, his name is not written on any billboards… He also refuses that people film or take pictures during his exhibitions.
    EXPLANATION OF THE PIECE
    The visitor enters an empty room with white walls. He is welcomed by a teenager who asks him “What is progress?”. The visitor is invited to talk with the teenager while they show them the way to a second room. Here an adult is waiting for them. The teenager summarises their conversation and leaves the visitor. The adult then takes over from the teenager and continues the conversation with the visitor, while leading them into a third room where a senior is waiting for them. The adult summarises the situation to the senior and leaves the room. The senior tells a private anecdote to the visitor and walks him to the exit.

    EXPLANATION OF THE PIECE
    Throughout his works, Tino Sehgal raises questions about another possible economy for the art world. Indeed, his works are temporary and, thus, fall outside the scope of the art market economy. Nor a trace is left after the performances: no photographs, no videos, no posters, no tickets… Beside the trace left in our memory. His performances, thus, puts in value people meeting together, interactions, the power of speech as opposed to the art market. Perhaps that is what progress means according to the artist? Beside making encounters happen, Tino Sehgal’s works give them food for political, economic and social thinking about our contemporary societies.
    Therefore, in the situations Tino Sehgal designs the visitor is not a passive one anymore, simply visiting an exhibition, but living a fully-fledged experience.
    LINKS
    http://www.palaisdetokyo.com/fr/evenement/tino-sehgal

    Source : http://salonkritik.net/index_colaboradores.php

  • UnionCORPORATE FLAG | ADBUSTER

  • THE PIECE OF ART
    Title : Corporate flag | Artist : Adbusters (Shi-Zhe Yung) | Date : 2000 | Location : United States | Medium : printing on a fabric
    THE ARTIST COLLECTIVE
    Adbusters is a network of activists, writers and artists founded in 1989 in Canada. They are involved in numerous social and political causes, many of which are opposed to consumerism and capitalism. They promote a type of activism that is specific to our contemporary information age.
    BACKGROUND
    The piece of art appeared against the backdrop of modern capitalism, where everything seems to be good for selling and consumption. It should be noted that the political and economic background is part of the piece, as it is a criticism of modern capitalism.
    EXPLANATION OF THE PIECE
    At first glance, the piece looks like the flag of the United States. In fact, it is not the real one: the stars – normally representing the different Federation states – has been replaced by the logos of important American firms. The aim is to protest against what activists call the hegemony of firms and consumerism in the American policy. Since 2001, Adbusters has been suggesting to replace the real flag of the USA with the Corporate flag – that you can purchase on their website – during the Independence Day, which is a national bank holiday in the United States.
    LINKS
    https://en.wikipedia.org/wiki/Gran_Fury

    An activist waves the Corporate flag during a demonstration in Washington on the day of the second inauguration of the President George W. Bush.
    Source : https://fr.wikipedia.org/wiki/Corporate_flag

  • KISSING DOESN’T KILL: GREED AND INDIFFERENCE DO | Gran Fury

  • THE PIECE OF ART
    Title : Kissing doesn’t kill : greed and indifference do | Artist : Gran Fury | Date : 1988 | Location : New-York City, United States | Medium : Awareness-raising campaign against homophobia
    THE ARTIST COLLECTIVE
    Gran fury is a group of American artists and activists who are part of AIDS, an association fighting for the prevention of the HIV virus. The collective was founded in 1988 and was dissolved in 1995. It is made up of eleven members. The collective define themselves as a group of artists united by their anger and they are committed to using the power of art to fight Aids and homophobia.
    BACKGROUND
    The artist collective Gran Fury appeared in the United States in reaction to the constant homophobia and discourse accusing homosexual people of being responsible of the Aids outbreak, that discourse which is spread by the government and sustained by many institutions and citizens.
    EXPLANATION OF THE PIECE
    Gran Fury convey a political message, adapting the communication means and design of advertising and mass media to their own ends. They wish to share information about homosexuality and Aids with a very broad audience. The first step of the project was to send by post a card showing gay couples kissing each other. Next to the card, there was a sentence: Kissing doesn’t kill: greed and indifference do. On the back of the card it was written: “Greed of firms, inaction of government and indifference of people make Aids a political crisis”. Then, the collective used the usual means of advertising: billboards in the public space, on buses, stickers, t-shirts, posters, etc…
    LINKS
    https://en.wikipedia.org/wiki/Gran_Fury

  • UnionNO WALLS | AMMAR ABO BAKR

  • THE PIECE OF ART
    Title : No Walls | Artist : Amar Abo Bakr | Date : 2012 | Location : Cairo (Egypt) | Medium : Grafiti
    THE ARTIST
    Ammar Abu Bakr is a visual artist and teacher at the Fine Arts School of Louxor in Egypt. He also contributed to the famous mural painting in Mohamed Mahmoud street. In 2011, he began with other graffiti artists to create stencils and mural paintings as a protest against the police and in favour of the uprising. He took photo portraits of twelve people among the dozens who lost an eye in the battles and used the colours of the national flag in the background. In February 2012, along with artists such as Alaa Awad et Mohamed Khaled, he drew a great painting on the wall of the American University of Cairo in the Mohamed Mahmoud street representing the martyrs of the football team el Ahly who were killed in the Port Said Stadium confrontations. Ammar Abu Bakr found their portraits on Facebook and showed them with angel wings or framed them with a black stripe as a mark of grief. He says that these wings are the ones of the Coptic saints that we can see in churches, thus showing that the Egyptian heritage is at the same time Coptic, Pharaonic and Islamic.
    BACKGROUND
    While phone lines and Internet connexions were cut for the population, the art of graffiti spread in Egypt during the Arab Spring, although it existed before. If graffiti artists contributed to “inform” the revolution and the political events happening in the country, their tags also symbolised a form of artivism. In fact, within a few months graffiti artists have become influential activists, displaying satire, catch-phrases, powerful visuals to express their rejection of the government.

    EXPLANATION OF THE PIECE
    In March 2012 Ammar Abu Bakr launched the collective graffiti campaign “No Walls”, in protest against the walls set up by the army in the middle of Cairo. These seven walls blocked access to the Home Affairs Ministry after football supporters of the el Ahly football team died in the confrontations with the police in Port Said.
    Thus, on these walls artists drew and painted rainbows, kids playing, trees, smiles… They did it in trompe-l’oeil style, extending the street perspective and giving the illusion that the street is not blocked anymore. They wish to free the district and the inhabitants from the walls imposed by the army. One of the most well-known paintings is the trompe-l’oeil of the Sheikh Rihan street –– meticulously replicating the perspective of the street and the details architecture of the American University of Cairo.
    LINKS
    http://www.med-eu.org/documents/MED6/papers/THEPENIER.pdf http://wallsoffreedom.com/


    Source : http://dbprng00ikc2j.cloudfront.net/userimages/101642/4cut/20141216200450-5._MunirSayegh_AmmarAbouBakr.jpg

  • SANS-TITRE | THE YES MEN

  • THE PIECE OF ART
    Title : Sans-titre | Artist : The Yes Men | Date : 16 août 2001 | Location : Tampere (Finland), intervention during an international conference entitled “The clothes of the future” | Medium : Performance
    THE ARTIST COLLECTIVE
    The Yes Men (Jacques Servin & Igor Vamos) form an American artist and activist duo, that was born in 1993. The artists fight against capitalism, in particular against the privatisation of the public space and the relocation of firms. They also give performances against G. W. Bush and the Iraq war. The artists criticises neo-liberalism by using its own codes and make a mockery of them: hoaxes and caricatures are their favourite weapons.
    BACKGROUND
    In 1995, the WTO (World Trade Organisation) established international agreements enabling multinational companies to dissociate totally the place of goods production from their point-of-sale. Multinational firms can, therefore, delocalise their businesses in countries where social taxes and labour cost will be undeniably lower. In doing so, they have the guarantee to generate certain and immediate profits.
    DESCRIPTION OF THE PIECE
    The performance took place during an international conference in Tampere, the second biggest city of Finland, about the future of the textile industry and new technologies. During the conference, the two artists stepped in and pretended to be two representatives for the WTO: Mr Hank Hardy Hunruh and his assistant. Mr Unruh begins his intervention with a comparison supported by statistics about the cost of a slave and a worker from developing countries. “The WTO is against slavery. Indeed, if we add up the expenses for food, clothing and accommodation required for a slave, the sum of their expenses is obviously higher than the cost needed for an Asian child hired by a firm like Nike. That is the reason why the American Civil War turned out to be a waste of money for the United States, as slavery, that is unprofitable, would have disappeared anyway”. No reaction in the conference hall. Hank Hardy Unruh carried on with some compliments about Gandhi:

    “This idiot had harmful protectionist reflexes”.

    As he noticed no reaction in the audience, he then showed a golden prop in the shape of a phallus that stood as a symbol of a tool to control and subdue the employee.
    EXPLANATION OF THE PIECE
    This performance mocks multinational firms with a satirical discourse on the privatisation of the market and the apology of domestic slavery. The Yes Men use their favourite weapons: their sense of humour, pastiche and grotesqueness to denounce and debunk liberalism.
    LINKS
    Performance: https://www.youtube.com/watch?v=Eo-1W_8otS4


    Source : http://www.cinemetroart.com/film/film-the-yes-men-152.html

  • POWER : FROM THE MOUTHS OF THE OCCUPIED | PATRICE CULLORS

  • THE PIECE OF ART
    Title : Power : From the Mouths of the Occupied | Artist : Patrice Cullors | Date : 2015 | Location : United States | Medium : performance
    THE ARTIST
    The artist is the Afro-American artist and activist Patrisse Cullors. She is the co-founder of the “Black Lives Matter” movement born in 1983 in Los Angeles. Using techniques belonging to the theatre and dance world, she blends visuals with sounds in ways that enable to name her works as art-therapy, promoting healing through art. She is particularly committed to curing traumas caused by the State and fights against the systemic violence it inflicts. Her purpose is to transform acts of violence into something positive through art.
    BACKGROUND
    The Power – From the Mouths of the Occupied performance, conceived by Patrisse Cullors, took place during her involvement in the Afro-American activist movement of the “Black Lives Matter”. Founded in 2013 in the United States, this movement stands up to the systemic violence and racism towards Black people and organises many demonstrations against repeated killings of Black people perpetrated by policemen.
    EXPLANATION OF THE PIECE
    The performance displays stories of members of the Afro-American community who happened to be victims of the police and/or state violence. It is a collaborative performance that aims to reveal those stories that remain too often unspoken. The idea is to help the community, to heal traumas and bring about positive change through art. Their personal stories are combined with dialogue recordings, music, theatre and multimedia.
    LINKS
    Performance :

    https://seattlechannel.org/FrontRow/episodes?videoid=x68750

    http://patrissecullors.com/bio/

     

  • HOTEL EUROPA | GTO LX – NETWORK TOGETHER

  • THE PIECE OF ART
    title : billboard campaign against the government propaganda| artist: twotailed dog party | date: 2016 | Place: hungary
    THE ARTIST
    The Two tailed dog Party started as a street art group in Szeged, at a bigger town in Hungary, for some years now they define themselves as a party. Their program consists of providing eternal life by abolish diseases, the general and total relief of taxation and payment without working. They create creative actions, renovate the public spaces and  make guerilla gardening, among other missions.
    BACKGROUND
    In 2016 the Hungarian Government launched a massive anti-immigration billboard campaign. The slogans were calling attention to the respect of the Hungarian national culture, the workplaces of the people and the nationallaws. The billboards texts were addressing the immigrants directly, although it was all in Hungarian, and all the different phrases started with the same question: Did you know? The campaign was important part in the creation of the central anti – refugee, anti – migrant narrative in Hungary.
    EXPLANATION OF THE PIECE

    As a reaction for the anti-immigration campaign they crow funded money to create billboards with information they consider important the people should know (following the question: Did you know?) and created messages that either absurd or has some connection to the messages of the government and migration, like “There is war in Syria” or “You can come to Hungary, we already work in the UK” or “70 weasel can easily occlude an average size tunnel”.
    LINKS
    http://ketfarkukutya.com/?page_id=1233

    http://patrissecullors.com/bio/

  • CHALK TV & STREET CHANNEL| PNEUMA SZÖV.

  • THE PIECE OF ART

    title: chalk tv, street channel | artist: pneuma szöv./mókusok | date: 2014/2016 | Place: budapest, hungary

    THE ARTIST

    Pneuma Szöv. is a Budapest based international artist cooperative and network that defines the term Pneuma (ancient Greek word for “breath”, “spirit” or “soul”) as a quest for free space created through common breathing and through the alchemy of art.

    BACKGROUND

    Since 2008, Pneuma Szöv. has been creating temporary common spaces, where people are inspired to resist the segregations and constraints of society through imagination and play. Pneuma Szöv.’s work is a chain of actions, nomadic street media shows and theatrical events on the verge of activism, encouraging people to take part in shaping the conditions in which they live.

    EXPLANATION OF THE PIECE

    Both of the actions consist of several ocassions, are performed in the public space and spread also through social media channels. During the Chalk TV action questions and messages were written on the ground wth chalk, asking the locals about their opinion. The authorities, not having other tool for repression, interviened with a cleaning machine to erase the messages written by the group. Street Channel focuses on news related to the locals, discussing questions of housing, cooking, talking with activists in the frame of a talkshow, recorded on a square in front of a Market hall.

    LINKS

    films about the actions :

    page :

    http://pneumaszov.org/hu/

  • BILLBOARD CAMPAIGN | TWO TAILED DOG PARTY

  • THE PIECE OF ART
    title : billboard campaign against the government propaganda| artist: twotailed dog party | date: 2016 | Place: hungary
    THE ARTIST
    The Two tailed dog Party started as a street art group in Szeged, at a bigger town in Hungary, for some years now they define themselves as a party. Their program consists of providing eternal life by abolish diseases, the general and total relief of taxation and payment without working. They create creative actions, renovate the public spaces and  make guerilla gardening, among other missions.
    BACKGROUND
    In 2016 the Hungarian Government launched a massive anti-immigration billboard campaign. The slogans were calling attention to the respect of the Hungarian national culture, the workplaces of the people and the nationallaws. The billboards texts were addressing the immigrants directly, although it was all in Hungarian, and all the different phrases started with the same question: Did you know? The campaign was important part in the creation of the central anti – refugee, anti – migrant narrative in Hungary.
    EXPLANATION OF THE PIECE

    As a reaction for the anti-immigration campaign they crow funded money to create billboards with information they consider important the people should know (following the question: Did you know?) and created messages that either absurd or has some connection to the messages of the government and migration, like “There is war in Syria” or “You can come to Hungary, we already work in the UK” or “70 weasel can easily occlude an average size tunnel”.
    LINKS
    http://ketfarkukutya.com/?page_id=1233

    http://patrissecullors.com/bio/

  • BAILE DE FAVELA- RESPOSTA | MARIANA NOLASCO

  • THE PIECE OF ART
    title: Baile de Favela – Resposta| artist: Mariana Nolasco | date: uploaded at may 2016 | Place: Brasil /youtube
    THE ARTIST
    Mariana Nolasco is an example for this youtube viral video art that fights sexism
    BACKGROUND
    The Brazilian Funk is common in the Favelas (Rio de Janeiro) where also the number of teen pregnancies (and rape) have been increasing day by day, becoming a national problem, and turning Brazil into one of the worst numbers on this statistics.
    In the favelas, poverty, drugs, arms, poor educational system, no health care, are the most common problems that influence the art created in this same place. So the Funkeiros, sing about what they see around them, normally, over sexualizing women in the lyrics and on the video clips which actually started a new dance trend called daggering (where men stick their reproductive organs into the women – in a very explicit way).
    For the huge spread of sexist speech and other hate speech by these very popular songs, some youtuber decided to create a counter narrative to these songs – where they grab the lyrics of the music and they turn into something that can be used for awareness raising.
    One of the things that the youtubers clearly state, is that they mean to disrespect  the authors of the songs, and by doing this they are just trying to include more love on the world and to offer their opinion on the topic.

    LINKS
    Original video

    Response Video

  • PIMP MY CARROÇA | MUNDANO

  • THE PIECE OF ART

    title: Pimp my Carroca| artist: mundano | date: from 2012 on | Place: Sao Paolo, Rio de Janeiro, curitiba states in Brasil

    THE ARTIST

    The movement Pimp my carroça was initiated my a graffity artist Mundano, who believes that the catadores are working for the whole society and they are heroes without recognition. For now other artists, companies and volunteers joined the movement.

    BACKGROUND
    In Brazil and in other Latin-American countries waste is creating huge problems. The catadores (waste collectors) are people who are living in a marginalized position, earning very little money from the waste they collect on the streets, surrounded by the prejudices of the rest of the
    EXPLANATION OF THE PIECE

    The aim is to give voice and visibility to these people, support their self esteem and raise recognition among the maiority society about their work in recycling and environmental protection. After painting  more than 200 cars Mundano launched a fundraising campaign to provide tools and renovation for the waste collectors’ cars, involving 800 volunteers and graffity artists. In Brasil the movements focuses on Sao Paolo, Rio de Janeiro and Curitiba, but Mundano calls attention to all the people living and working in similar conditions all around the world, to valorize them and the effort they do for the society.

    LINKS

    http://pimpmycarroca.com

    https://www.ted.com/talks/mundano_pimp_my_trash_cart

  • DO WOMEN HAVE TO BE NAKED TO GET INTO THE MET. MUSEUM? | GUERILLA GIRLS

  • THE PIECE OF ART

    title: Do women have to be naked to get into the met. musem ? artist: guerilla girls | date: 1989/2011 | Place: new york (usa)

    THE ARTIST

    Guerilla Girls is a collective of women, based in New York, USA, who produce visual campaigns, provides workshops, their main topic is the exclusion and discrimination of women in the art world. The anonymous women artists always wear masks of gorillas and have names of famous former female artists.

    BACKGROUND

    Exclusion of women artists from the prestigious institutions and the art world.

    “(…) That work is more than a quarter-century old, but the Guerrilla Girls have updated it over the years – with the results just as discouraging. The 2011 version states that women represent 4 percent of the artists in the modern-art sections of the Metropolitan Museum of Art but 76 percent of the nudes.” (guerrillagirls.com)

    EXPLANATION OF THE PIECE

    The group began in 1984 as a response to The Museum of Modern Art’s exhibit An International Survery of Painting and Sculpture where 100% of the artists exhibited were white and less than 8% were women. The members of guerilla girls are calling attention and challenge the hegemony of the art world, they also fight against racial and political discrimination. They use posters, street art, videos and other easy and accessible channels to transmit their mostly ironic messages, organize street actions, protests and forums, edit books.

     

    LINKS

    https://guerrillagirls.squarespace.com/#open

    Guide how to behave (manifesto kind of video)

     

    complain department

     

    (sources of the videos and photos too: guerillagirls.com)

    https://www.instagram.com/guerrillagirls/

  • KNOWLEDGE IS POWER | KRISTOF HORVATH

  • THE PIECE OF ART

    title: a tudás6alom (knowledge is power)| artist: kristóf hováth and the kids | date: 2014 | Place: hungary

    THE ARTIST

    Kristóf Horváth is a slammer and actor

    BACKGROUND

    In Hungary the Roma youngsters often leave the school before gaining qualification. Discrimination and negative stereotypes in the education system are strongly present, even after many years of different attempts of integration projects.

     

    EXPLANATION OF THE PIECE

    The original project consists on one hand of professional music videos presenting slam poetry or traditional folk songs where the text encourages Roma youngsters to learn, not to feel ashamed in school, because as the main message says: knowledge is power.  The song calls to combat prejudices and discrimination, speaking to young people, and in the same time raising awareness among the majority of society as well on the inequalities.

    Kristóf Horváth (Színész Bob) is a slammer, actor, working in various artistic-social projects.

     

    LINKS

    Vak romák a romok alatt/kitapogatom a rokonokat/a vakeromtól pereg a vakolat/biliket borítok/leverek falakat/teneked szorítok/nevelek szavakat/keverek savakat/ami maj’ lemarat/lássuk mit takar az akaratod

    Nem a te hibád az, hogy az agyad lékelt,
    mennyi kell neked ahhoz, hogy megelégeld,
    hogy csupa korom a rokonokon a korona?
    Vagy a korom az a roma aroma?
    Tesó! Mikor lesz már eleged magadból?
    Abból, hogy elnézik ha valamit nem tudsz?
    Abból, hogy a vártnál jobban teljesítesz, ha nem lettél bűnöző vagy koldus?
    Gyerünk testvér, gyerünk ne add fel!
    Aki hagyja magát megtörni, az nem ember!
    Leszeged a fejedet, azt megy a megveszekedett,
    egyvalamit nem vehetnek el tőled: az eszedet!
    Kitakarítok, kiteregetem a szennyest,
    ha lefele kerekítem a jegyedet az egyes.
    Fogd már fel végre, hogy a kitűnő a cél!
    Csak így érheted el azt, hogy közepesen élj

    A jó televízió tudja, mi kell a népnek:
    hamis pózok meg kamu példaképek.
    Sok suttyó celebet látsz, tehetetlen bábokat,
    megmutatják, hogy cseréld gagyibbra minden álmodat
    Mondjak valamit ami félelmetes?
    A tudatlanságod mindenkinek kényelmesebb.
    Aki egy sort se tud olvasni, hogyan olvasna a sorok között?
    Aki hülye, az is marad,
    önmagát tartja a létminimum alatt.
    Éhezéssel tartanak butaságban téged,
    akkor lesz ember belőled amikor ezt megérted,
    ha most választanod kell, hogy olvasás vagy evés,
    válaszd az olvasást és megszűnik az éhezés 2x

    Furcsa lesz majd elsőre, de hozza szoksz a szerephez:
    ha fele annyit szólítanak, kétszer annyit jelentkezz!
    Stréberek vagyunk lehet, de nem halunk éhen-
    a tudás mindig hatalom, sohase szégyen!
    A tudás az hatalom, a tudás hatalom,
    a tudás az hatalom, sohase szégyen 2x

    küzdjéé magadé’
    küzdjé’ magadé’
    küzdjé’ magadé ne fossá’
    küzdjé’ magadé, védd meg az igazadat
    az igazat az igazat az igazat az igazat

    a szavadat adod-e, hogy bedobod a magadét?
    védd meg az igazad az igazadat védd meg
    mér’ lopod a napot ha van elég dolgod?
    gyúrd ki az agyadat, hogy értsed a fifikát
    védd meg az eszedet ha dübörög a butítás
    undok az indok, zakatol az uszítás
    játszik a náci, kilátszik a cikiség

    Mutassa már meg valaki,
    hol az a jó csávó
    aki hogy színházba vigyen
    Kijön a kocsmából?
    Napközben melózik,
    de este mindig ráér,
    az esze véd meg engem,
    nem az, hogy ordenáré.
    Szerintem szexi az, aki eszes-
    nem rafkós, hanem fineszes!
    Az elméje éles, nem a pengéje,
    és ne adj’ Isten a költészet a gyengéje
    Ciki! Ciki!
    Nem ez a ciki, hanem ha bunkó vagy!
    Ha a művészt gagyinak találod,
    a gagyit meg túl jónak.
    Életedbe’ nem olvastál el eddig még 20 oldalt,
    Olvasni tudsz? Jobb lesz ha futsz!
    De ahhoz is válaszd a túloldalt.

    Elegem van már a sok gengszter rapperből,
    mondjál már el valami verset! Bármit ami megy fejből!
    Nagyon felizgulsz egy csőre töltött fegyvertől?
    35 év börtönben a hátralévő negyvenből?
    „Az igazi kemények rád nyitják a bicskát”-
    ahogy öregszel meglátod majd, hogy ők lettek a csicskák.
    Nehogymá’ az legyen menő, hogy te vagy a legnagyobb sutyerák-
    a stílusod nem eredeti, hanem a You Tube-ról guberált.

    Kihúzhatnád a gödörből az egész nemzedéket,
    csak légy okosabb azoknál, akik lenéznek téged.
    A társadalmi problémákra tudom a megoldást:
    okozz minden embernek száz pozitív csalódást!
    (Dal)
    Tanulj jól, de tanulj jól, de tanulj jól!
    Hogy az agyad hamar le ne konyuljon!
    Azért kéne tanulni,
    ne tudjanak szapulni,
    ne kelljen, mint szar a fűben lapulni!