Angelos Foulis
A Qualitative Investigation about the Inherent Connection that Exists Between Art, Politics and Activism in the Contemporary World
AAD Dissertation Studio 15 2020–21
Extracts from Angelos Foulis, A Qualitative Investigation about the Inherent Connection that Exists Between Art, Politics and Activism in the Contemporary World
Dissertation Studio 15 ‘If I stay silent nothing will change’: Identity, Politics, Social Change and Creative Culture(s) Tutor: Christina Paine
School of Art, Architecture and Design London Metropolitan University 2021
INTRODUCTION This dissertation will examine the intrinsic connection found between art, politics and activism. By conducting extensive academic research regarding different artists and art practices, it will delve into how art impacts and is influenced by its political surroundings. The necessity for this investigation is derived from the notion that in the context of the contemporary society where uncertainty socio-political unrest exists throughout the world, the successful integration of art within its political environment can be vital as a tool of positive social change and advancement towards a promising future. As a result, a thorough comprehension of the interconnection amongst these elements can assist in such a challenging endeavor.
CHAPTER 1 In what ways do art forms such as painting, film and performance art impact and are influenced by their surrounding environment? The primary goal of this chapter is to question how different art mediums and politics intrinsically impact each other. More specifically, it will explore what is art’s function in the scope of influencing public perception on political and social matters, as well as what advantages and disadvantages this entails. In the context of contemporary post-modern society, Cambridge Dictionary, one of the most academically respected sources regarding the English language, defines art as a creative ‘activity through which people can express particular ideas, politics as ‘the activities of the government, members of law making organizations, or people who try to influence the way a country is governed’, and activism as ‘the use of direct and noticeable action’ in an effort ‘to achieve a result, usually a political or social one’ (Cambridge, 2013). Garnsey further specifies that politics is ‘the public discussion on matters of justice', whereas art operates within the ‘aesthetic nature of every day perception’, while highlighting how political actions ‘would be successfully performed’, otherwise its philosophy ‘is sterilized’ (Garnsey, 2019, p. 10). 2
Ezrahi builds on that
notion by acknowledging that ‘the fictive or theatrical is part of the fabric of every political universe’ as art is utilized to ‘socially concertize’ and to ‘generate the realities of a particular power and authority structure’, since ‘all political regimes depend on the performance of collective imaginaries’ (Ezrahi, 2012, pp. 129,130) [...] More specifically, in regards to painting numerous artists that have been politically active through their practice. In his book Segal provides a most notable example, that of the globally influential Mexican painter Diego Rivera who was a member of ‘the communist party of Mexico’, but nevertheless worked on highly criticized mural commissions by both ‘anti-communist Mexican governments’ and ‘American businessmen’ (Segal, 2016, p. 31). His political stance often resulted in conflict, such as when in his commissioned project at the Rockefeller Center where he wanted to include ‘a portrait of Lenin holding hands with a Russian soldier and an African-American worker’, was canceled by Rockefeller himself. (Segal, 2016, pp. 41,42). Rivera’s case was selected because it points out the indistinct line of navigating one’s personal political stances and working within the established political system in service of their ultimate goal which is to promote their ideology through their art. Rivera believed ‘that a revolutionary artist still makes revolutionary art when he works for a conservative government or a capitalist business owner’ (Segal, 2016, p. 44) Reed reflects on Segal’s writings by expressing that Rivera’s beliefs are evident in his influence on the Mexican Chicano Movement that ‘rose to prominence in the 1960s’, as subsequent generations of ‘people of Mexican descent’ in the United States began to ‘claim the right to their own dignity, identity, language and culture’ by creating mural art inspired by ‘activist models laid by predecessors’ while ‘exorcising elements of internalized racism that hindered the creation of a newly politicized sense of self and community’ (Reed, 2005, pp. 104, 105) Eventually, artists must to adapt to the political system and its influence on the content of art, and then skillfully navigate its complicated barriers in order to 3
succeed in progressing their politics and ideology while maintaining a strong personal voice. The socio-political context of this case details the nuance of navigating politics to successfully create art progresses one’s political beliefs. If Rivera did not adapt within the establishment, his work would have never been so politically impactful. Aditionally, the mediums of film and video art are interlinked to the current turbulent socio-political environment. They are included in this thesis because they have been continuously developing in parallel with technology since the 20th century, and have a resounding presence in contemporary society by impacting both politics and art. Technology and social media certainly affects the way progress is manifested, through the very quick and efficient manner of spreading information in various different forms. Political conflicts globally showcase how instrumental film and video art are against political oppression. A notable case which demonstrates their activist nature is the fight against government censorship in Turkey. More specifically, McGarry points out that the ‘increasing authoritarianism in Turkey in the aftermath of the Gezi Park protests’, has led to a rise of a ‘culture alternative visual media’ where ‘artists/activists’ display ‘activist films and videos’ that ‘circumvent mainstream news media’ which showcase ‘a distorted coverage of protest movements’ (McGarry, 2020, pp. 192,195). Furthermore, films and cinema are being negatively affected by government censorship which has ‘limited the production and circulation of politically engaged films’, while the ones that get made are suppressed from film festivals because of their social critique (McGarry, 2020, p. 202). How does the situation in Turkey relate to the connection amongst art and politics? It exposes how politics can be detrimental for some art forms, while causing the evolution of others. This notion is apparent in the human resilience which is evident in the activist video art and films that are made despite the hardships that artists are being put through. In addition, performance art is highly reflective of its political surroundings. Performance artists interact with the audience and aim to alter their preconceived notions. How does performance art relate to the innate 4
connection amongst art and politics? Its power lies in its symbiotic relationship with its political context. For instance, two monumental performance artists, Yoko Ono or Marina Abramovic, have both been breaking down societal barriers regarding feminist empowerment, a notion that has advanced since the latter half of the 20th century, but is still prevalent in the ongoing fight for true equality. Shalson annotates that ‘Cut Piece’ by Yoko Ono, and ‘Rhythm 0’ by Marina Abramovic are two notable examples where the artists profoundly connected with the audience, as in the first piece ‘members of the audience [were] invited one by one to cut away a piece of the performer’s clothing’ while in the second piece ‘audience members were presented with seventy-two items’ and were ‘invited to use these items to interact with Abramović’s body in any way they liked for six hours’ while ‘the artists remained insistently passive throughout’ (Shalson, 2018, pp. 44,45).
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Figure 1: ‘Yoko Ono, Cut Piece’, 1964
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What elements in the surrounding political and social environment of these two artists led to them creating and performing these aforementioned art works? As Shalson examines, the two art pieces are perceived ‘as works that address the objectification of women within voyeuristic viewing structures’, so it can be argued that without the presence of the systemic inequality towards women in the 20th century, these two artworks would either not exist, or their presentation, impact and further examination of oppression would be irrelevant and thus unnoticeable by the viewers. (Shalson, 2018, p. 46).
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Figure 2: Marina Abramovic, Rhythm 0, 1974
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[…] Overall, evidently all artworks are influenced by their political context. A dialectical thinking amongst different views relating to art and politics will result into their symbiotic relationship. In the contemporary post-modern environment, the line amongst them is continuously blurring. Finally, society’s progress historically results from multiple factors fighting against oppression. By researching the past and examining the present, it’s imperative to continuously integrate art in the political spectrum and further promote its role as an advocate of social justice.
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