• 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.
  • 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.

  • Editorial: The Politics of African Contemporary Art
    How can African art retain a political agency once it has become part of the global contemporary?
  • Of needs and blessings
    When Billie Holliday wrote God Bless the Child, I do not think she could have imagined it becoming an anthem for the disenfranchised. Being in control of means matters greatly when considering representation and self-actualisation.
  • I'll have a project
    Why promote contemporary African art as contemporary African art? Doing so means to have a project, and the constant elements which characterize contemporary African art deeply relate to the essence of projects.
  • Dada Masilo – Yinka Shonibare: Upending the Classics.
    Both Yinka Shonibare and Dada Masilo commit themselves to erasing the dichotomous relationships that underlie the history of arts and cultures as these tend to be conceptualised in the West.
  • Umbrellas and Sewing Machines
    Whether as a scaffold on which the wrongs of the past might be brought to account or as a temporary shelter housing the Neverland imaginings of valuable dreams that suddenly go missing, the exhibition as a common locus has become more and then less, and then more, a matter of concern in post-apartheid discussion.
  • Discovering William Kentridge
    Understanding politically engaged contemporary African art from a distance and how it may raise awareness about personal politics of location
  • IN/ FLUX
    How to develop innovative ways of supporting, exhibiting, reading, writing, seeing and spreading the word about the creative diversity of a continent and its diasporas? Three women have come together in an undertaking that seeks to address these and related questions through the curatorial platforms of SPARCK and LOWAVE.
  • How to conjugate?
    Taking contemporary African arts practice as my point of departure, I suggest the mythology of Drexciya as a tunnel for research to understand ways of deciphering philosophical concepts of self, encounter, nation and transformation.

  • Editorial: Freedom of Expression, Performativity and Civil Disobedience
    It seems to be a rather difficult endeavor to reconcile art and life, also for the proponents of freedom of expression. Is art suitable as a kind of civil disobedience?
  • The Imprisoned Images
    Susana de Sousa Dias’s award-winning documentary ‘48’ uncovers the violence and brutality exercised by the Political Police (PIDE) over men and women during the forty-eight years of the Portuguese Dictatorship (1926-1974). More than a movie, she creates an act of rescue centred on history and the image.
  • Fresh Start: Transnational and Cultural Movements of Identity in Auf der Anderen Seite
    In Fatih Akin's films, social and cinematic discourses related to accented and diasporic cinema combine to deconstruct nationalist myths and provide a wider context for the representation of culturally different Turkish-German identities.
  • Art as Civil Disobedience
    An artwork is a setting for sharing concerns; insofar as it revises collective experience via individual intention, it is always already an act of civil disobedience.
  • A Moving Image That Can Remember Its Past Lives
    The performances of the Phitakon in Isaan, Thailand, reappropriate photography and cinema by integrating the camera in traditional rituals that center on the enigmatic propensities of the Tool. They not only seem to relativize the globalized, western forms of vision with which these media have been rigidly associated, but directly challenge media history and specificity
  • Passages to Palestine: Performing Peace in a High Conflict Space
    My mission was to transmit Dr. Martin Luther King’s message of peace and nonviolence through a multilingual, multimedia theatrical production and to disseminate these ideas in a land that desperately needed them. Such a mission seemed laughable after I had been there on the ground long enough to witness the severity of the situation.

  • Editorial
    This issue of Seismopolite Journal brings texts about art and politics from a number of localities worldwide.
  • Only light and memory: the permeable cinema of Apichatpong Weerasethakul
    Through a local framing May Adadol Ingawanij and David Teh shed a rare light on the many tensions that are channelled, yet somehow balanced, in the films of the Palme d'Or-winning director
  • Details on contemporary fascism
    The exhibition Details at Bergen Kunsthall focuses on the political potential in art as an archaeology of the politics of perception: it specifically inquires about everyday repositories of contemporary fascism.
  • Fear of Speaking
    Curator June Yap discusses the conditions for freedom of speech in Singapore under the so-called 'new normal' after the parliamentary and presidential elections, with reference to a recent theatre play entitled Fear of Writing.
  • Interview with Övgü Gökçe, Project Coordinator of Diyarbakır Arts Center
    The Diyarbakır Arts Center (DSM) is the Diyarbakır branch of Anadolu Kültür, an organization which helps discovering the local cultural and artistic potentials of cities all over Anatolia, and works to form bridges between diverse cities in Turkey and to international cities and art scenes.
  • On the Fallacies of “Useful Art”: Tania Bruguera’s Immigrant Movement International
    Chris Mansour discusses the implications of performance artist Tania Bruguera's concept of Arte Útil, which she opposes to an idea of aesthetic autonomy.
  • The political matrix: The 12th Istanbul Biennial
    This year’s Istanbul Biennial deconstructs the idea of the art space architecturally, and simultaneously reclaims it as a pure function of the visitors’ bodily and intellectual possibilities of navigation.

  • Welcome
    The first issue of Seismopolite! The Journal's main agenda is to investigate the possibility of artists and art scenes worldwide to reflect and influence their local political situation (...)
  • Blind Dates in the Fault Lines of an Empire
    A collaborative project, involving artists and researchers from estranged societies in the former territories of the Ottoman Empire, tackles the master narratives, remains and gaps produced by the empire's fall in an attempt to create new future trajectories.
  • Between Utopia and Dystopia
    In an exhibition at the Museo Universitario de Arte Contemporáneo, Mexico City, Asian artists mediate between art, life, politics, history and social memory in their respective localities and historical contexts.
  • The Performative Archive
    A review of Fluxus East and The Creative Act - two shows in which archives erupt and thereby reassert Henie Onstad Art Center as a transitory arena for groundbreaking art, upholding the search for a way in which art can maintain its political agency, over time.
  • One day it will have to be over
    An exhibition series at Museo de Arte Contemporãnea in São Paulo covers the period of military dictatorship in Brazil, displaying how art became one of the few and most efficient tools of opposition to the regime over three decades.
  • Interview With Map Office
    Josef Ng interviews MAP Office, Valérie Portefaix and Laurent Gutierrez in Hong Kong
  • I can't go on, I'll go on
    This essay addresses the present conditions of art as a means of social and historical betterment, by responding to the 'Questionnaire on 'The Contemporary'' in e-flux and October.

..