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  • Editorial
    Accross their various angles and points of departure, the articles in this issue of Seismopolite deal with freedom of expression and how diffent artistic forms and strategies can be used to advance freedom of expression and confront censorship.
  • Wanda Raimundi Ortiz and Ivan Monforte in conversation with Rocío Aranda-Alvarado
    In some cases, the will to restrict freedom of expression comes from unexpected places, including the community from which the artist originates. Struggles with identity for both artists are born from a problem of finding a place within the metanarratives of art history and within contemporary practice as embraced by mainstream institutions.
  • Censorship and conspiracy theory in China
    I first visited China in 1997 when Westerners were few and far between and I had to stay in the designated hotels where soldiers and communist party representatives could keep a careful eye on me. I would never have predicted that I would be invited to return some twelve years later in 2009 to do an artistic residency on the theme of Chinese conspiracy theories but that is exactly what happened.
  • Eye-snipers. The iconoclastic practice of Tahrir
    Egypt’s revolution of 2011 brought forth one of the most powerful icons of civil dissent in recent times: Tahrir Square occupied by masses of protestors seen from a bird’s eye view. The 2014 image of Tahrir might signify a mode of iconoclasm in which the visuality of the broken icon is intact while its ideological content is subverted.
  • The politics of contemporary art censorship in modern Greece
    The declaration that in a democracy, artistic creation should enjoy complete freedom may be considered given. However, when several artistic practices are prohibited in liberal countries like Greece, one cannot be categorical as to whether freedom of artistic ideas is a prerequisite. Two recent cases of censorship exemplify the Greek skeptical mindset regarding the contemporary subversive artistic production.
  • Theatre and peace building in Africa
    As the African continent continues to tackle the challenges posed by war, ethno-religious, political and social conflicts, theatre and particularly street theatre is a tool of inestimable value in mediation. The Al-mashish’s engagement in the conflicts in Darfur has proven that theatre can indeed provide the much sought panacea to a society polarised by ethno-religious and political crises.
  • Photography and propaganda in Yugoslavia after WW2
    Immediately after the end of the WW2, the Communist Party of Yugoslavia set up an “agitation and propaganda apparatus”. While the name “apparatus”, taken from the rhetoric of industrial society and its belief in technical progress, was inappropriate to the actual circumstances in Yugoslavia, it was glorified in avant­garde art circles.
  • Violence and Light - Richard Mosse
    Congo is caught in a relentless, cyclical procession of violence and counter-violence caused by centuries of systemic, subjective and divine violence. Violence, in Mosse’s case, is the light of revelation. The prospect of witnessing, however mediated, conflict and war is what drew him there.