Archive for the ‘Videos & Images’ Category

A great initiative that took place on the 13th of May in Athens.

Underneath one of the major ancient theatres and cultural places of Greece, 120 musicians, actors, videographers and sound designers came together to express their solidarity to the artists who died for their art.

Another sign of the power and solidarity art can bring. Especially now.

#SupportArtWorkers #GreeceToTurkey #GrupYorum


A great video with advices to artists by artists.


Olafur Eliasson : ” Be sensitive to where you are in what times and what part of the world and how that constitutes your artistic practice.” 

“Making art is making the world.”

Marina Abramovic : Be ready to fail… Risk

Wim Wenders: “Do what nobody else can do except for you!”

The new video “Khaled’s Ladder” documents the journey of multidisciplinary artist Khaled Jarrar along the U.S.-Mexico border and the making of his new work that takes the border wall as its raw material.

‘ I do it in the name of art, and I like how art gives us all this freedom and space to practice our creativity on the ground, not just on paper. This is how we can raise the questions and tell the stories that lead to solutions that will allow us to go beyond borders.’

On January 27, Khaled Jarrar set out on an uncommon journey: traveling in a 34-foot RV from San Diego, California, to Juarez, Mexico, crisscrossing and following the U.S.-Mexico border along the way. Jarrar was traveling as part of Culturunners, a project initiated by Edge of Arabia in partnership with Art Jameel, in which artists travel from place to place in order to explore contested boundaries. On the journey the group encountered border patrol agents on both sides of the border, met and worked with locals living near the border, and organized talks at galleries and public spaces. During his time on the road, Jarrar created and installed a new work, Khaled’s Ladder, using material pulled from the border fence. Coming from his home in the West Bank, where the Israeli separation wall shapes daily life and restricts freedom of movement, Khaled was alert to the ways in which the U.S.–Mexico border informs the experiences of those who live on either side of it. After completing the RV journey to Juarez, Khaled made the trip to New York and visited the Creative Time offices, where he talked to Creative Time Reports’ associate editor, Rachel Riederer, about his new work and his ongoing interest in dismantling walls and crossing borders.

You can find the full interview  here.

‘No entry’ ???

Posted: March 20, 2016 in Videos & Images

Yesterday, I was yet in another march, another public demonstration, in Trafalgar square. A march standing to refugees but not only… standing to all the people that have suffered from wars, from injustice, from racism and fascism and are still suffering.

People that have died from policemen, people who didn’t speak because they thought they didn’t have the power or the right to do so.

People that fight to remain human…

to find a home…

to live.

There, I saw this sign and I laughed for a few seconds… A ‘NO ENTRY’ sign amongst many ‘Refugees are Welcome’.  I found it quite comicotragical (something that makes you laugh and cry at the same time).


A sign that was placed there by the government… by the mayor of London, by the Greater London Authority as it states. By those in ‘power’, those who make the rules (?) The laws (?)

Then I thought that here’s the problem. Not in that specific sign of course… But in the way we react.

Even if thousands or millions of us are holding signs, shouting, demonstrating, marching, voting, THEY will still be the ones that pass the laws, that close the borders, the ones that decide based on their profits (and the capitalist system that nurtures them) and not on humans lives or children’s dreams…

Maybe we should gradually, powerfully and forcefully take off all these ‘signs’ and create the society we want to be living in…


we should find a way…


to change.


No one leaves Home…

Posted: March 20, 2016 in Videos & Images

Home‘ written by Warsan Shire :

no one leaves home unless
home is the mouth of a shark
you only run for the border
when you see the whole city running as well

your neighbors running faster than you
breath bloody in their throats
the boy you went to school with
who kissed you dizzy behind the old tin factory
is holding a gun bigger than his body
you only leave home
when home won’t let you stay.

no one leaves home unless home chases you
fire under feet
hot blood in your belly
it’s not something you ever thought of doing
until the blade burnt threats into
your neck
and even then you carried the anthem under
your breath
only tearing up your passport in an airport toilets
sobbing as each mouthful of paper
made it clear that you wouldn’t be going back.

you have to understand,
that no one puts their children in a boat
unless the water is safer than the land
no one burns their palms
under trains
beneath carriages
no one spends days and nights in the stomach of a truck
feeding on newspaper unless the miles travelled
means something more than journey.
no one crawls under fences
no one wants to be beaten

no one chooses refugee camps
or strip searches where your
body is left aching
or prison,
because prison is safer
than a city of fire
and one prison guard
in the night
is better than a truckload
of men who look like your father
no one could take it
no one could stomach it
no one skin would be tough enough

go home blacks
dirty immigrants
asylum seekers
sucking our country dry
niggers with their hands out
they smell strange
messed up their country and now they want
to mess ours up
how do the words
the dirty looks
roll off your backs
maybe because the blow is softer
than a limb torn off

or the words are more tender
than fourteen men between
your legs
or the insults are easier
to swallow
than rubble
than bone
than your child body
in pieces.
i want to go home,
but home is the mouth of a shark
home is the barrel of the gun
and no one would leave home
unless home chased you to the shore
unless home told you
to quicken your legs
leave your clothes behind
crawl through the desert
wade through the oceans
be hunger
forget pride
your survival is more important

no one leaves home until home is a sweaty voice in your ear
run away from me now
i don’t know what i’ve become
but i know that anywhere
is safer than here.







Inspiring, clever, thought-provoking, political, significant art. That talks to the people through people.

‘The Iranian director is still officially barred from film-making, but enterprisingly gets around the restriction by filming inside a car, to produce a beautifully humane fable

Jafar Panahi in Taxi

The Iranian auteur and democracy campaigner Jafar Panahi has once again found a way around the state ban on him as a film-maker with a new movie at a European festival. This new film is technically without credits and so evidently cannot be officially attributed to him as a director – although it is obvious enough, and perhaps the government realise that enforcing the ban would make them look absurd, especially in the light of Iran’s new detente with the west.

Taxi is a good-humoured jeu d’esprit, a piece of freewheeling cinephile activism, and a kind of career selfie – Panahi is certainly not burdened with any false modesty. It’s a rueful but insistent statement to the effect that he is down but not out. He is still here, still commenting on Iran’s heavy-handed system of injustice, still shooting movies, on digital cameras, on mobile phones, on anything with a memory stick. There are allusions to his own earlier films, like Crimson Gold and Offside.

The premise, or joke, is that Jafar Panahi is now reduced to driving a cab. The great director is now at the wheel of a very modest car (it embarrasses his niece when he picks her up from school) driving around Tehran, and actors, non-professionals and friends of Panahi improvise roles as passengers, hopping in, often sharing a ride, sometimes just needed to go a couple of blocks; oddly, they rarely specify an address. And Panahi is a hopeless cabbie, often not knowing where places are, though his garrulous customers seem not to care too much, because he often lets them off the fare. He films his passengers from a locked-off camera position on the dashboard and the conceit is that this is the security video camera to prevent him from getting robbed; later we will see exactly how effective that is. And this gallery of people give us a moving snapshot of modernIran, and how everyone is feeling about crime and punishment and the way they live now.

Taxi film still
Photograph: Berlinale/Photoshot

In some ways, Taxi is in a classic subgenre of Iranian cinema virtually invented by Abbas Kiarostami: the scene, or entire film, shot inside a car, in movies like Ten (2002) or Taste Of Cherry (1997). The interior of car is both inside and outside, both private yet out in public, both stationary yet moving. It allows a kind of fleeting candour, even intimacy between strangers.

The characters who demand a ride are partly comic: one lady is actually carrying a goldfish in an open bowl. A sobbing woman asks him to carry her bruised and bleeding husband (injured in a road accident) to hospital, and this poor man insists that Panahi’s other passenger films him in his mobile phone reciting his will, leaving all his money to his wife and denying his brothers everything; his wife demands a copy of this important video. This other passenger turns out to be a tricky character who sells pirated videos – and claims to have got Panahi a copy of Nuri Bilge Ceylan’s Once Upon a Time in Anatolia.

But other characters succeed in raising more important ideas. A teacher and a dodgy young guy argue about how to punish criminals: he’s all for some sharia-style executions; she demands mercy and points out that no one is born a thief. Later, Panahi will talk to a friend who has been attacked in his shop – the man shows him the CCTV footage on his iPad – apparently for standing up for a man and woman who had been caught stealing money. And finally Panahi picks up a friend who is a lawyer, disbarred from practising her trade, in the way that he has been barred from film-making. They discuss the case of Ghonsheh Ghavami, the Iranian woman jailed for trying to attend a men’s volleyball match. Panahi maintains a smilingly fatalistic attitude to all this.

The crucial moment comes when Panahi’s feisty niece reveals she has to make a short film for a school project; she accidentally films a boy taking money that isn’t his and dramatically intervenes in the situation. Could Panahi be playfully showing the authorities how film-makers are a force for good? She informs the bemused Panahi that her teacher has given her rules for making a film which is “distributable” in Iran: at all costs you must avoid “sordid realism”. It’s advice that will amuse any follower of the kind of Iranian film which has found favour on the foreign film-festival circuit – they do indeed, mostly, avoid sordid realism, and offer coded commentary couched in childlike fables. However, Panahi’s films have not avoided realism.

Taxi grew on me. It is not as angry and painful as his previous work, the samizdat This Is Not a Film, but it is subtle, humorous and humane. It tells you more about modern Iran, I think, than you’ll discover on the news.


[Source: ]

2015 in review for A(r)CT

Posted: December 30, 2015 in Videos & Images

The stats helper monkeys prepared a 2015 annual report for A(r)CT’s blog!

Here’s an excerpt:

A San Francisco cable car holds 60 people. This blog was viewed about 680 times in 2015. If it were a cable car, it would take about 11 trips to carry that many people.

Click here to see the complete report.

Deadline @Tate

Posted: December 7, 2015 in Videos & Images

On Saturday 5th December I visited Tate as I heard about the Deadline Festival ; a 3 day arts festival to launch Tate’s deadline year to come off fossil fuels.


I watched the short play: ‘Tickets are now on sale’ dealing with environmental and not only stereotypes, issues, and other things ‘not to be said’, which undoubtedly reinforced my idea that arts can play a very important role at highlighting the problems and asking the people to react or search for solutions.

After that I had the opportunity to hear some very inspiring people and artists talk about Performance and Power. These were: Michael McMillan , Lucy Neal, Cecilia Wee, Lucy Ellinson and Feimatta Conteh.










Overall it was such a great idea to push Tate to say no more to BP #dropBP and to motivate and inform people about the dirty deals of one of the  biggest art organisation.

Source: Deadline @Tate ,

I always found the name false which they gave us: Emigrants.

That means those who leave their country. But we

Did not leave, of our own free will

Choosing another land. Nor did we enter

Into a land, to stay there, if possible for ever.

Merely, we fled. We are driven out, banned.

Not a home, but an exile, shall the land be that took us in.

Restlessly we wait thus, as near as we can to the frontier

Awaiting the day of return, every smallest alteration

Observing beyond the boundary, zealously asking

Every arrival, forgetting nothing and giving up nothing

And also not forgiving anything which happened, forgiving nothing

Ah, the silence of the Sound does not deceive us! We hear the shrieks

From their camp even here. Yes, we ourselves

Are almost like rumours of crimes, which escaped

Over the frontier. Every one of us

Who with torn shoes walks through the crowd

Bears witness to the shame which now defiles our land.

But none of us

Will stay here. The final word

Is yet unspoken.

Bertolt Brecht


Banksy’s discusses Dismaland.

Posted: October 18, 2015 in Videos & Images

“It’s a flawed concept”

Banksy discusses Dismaland with a Sunday newspaper…

Why does the world need Dismaland? What inspired you to create it – and how did you find the site?

It’s an experiment in offering something less resolved than the average theme park. For some reason it’s been labelled as ‘twisted’ but I’ve never called it that. We just built a family attraction that acknowledges inequality and impending catastrophe. I would argue it’s theme parks which ignore these things that are the twisted ones.

The location was easy to find – I came here every summer for the first 17 years of my life.

This preoccupation with Disney, have you been subjected to too many re-runs of Cinderella recently? What effect do you think Disney has on young minds? 

I don’t have an issue with Disney. I’m not a hipster, so I don’t think something is evil or vacuous simply because its popular. The Dismal Land branding isn’t about Disney at all – its just a framework that says – OK, we accept that making art puts us in the light entertainment industry, and we’ll attempt to engage at that level – but for the left.

Some Disney is very good, the Let it Go sequence in Frozen is brilliant – the ‘journey’ between the beginning and end of that three minute song is pure cinematic gold.

What were your criteria for the artists you included? How did you find them? Have you met and spoken to these artists? 

I approached all the artists myself by email. Only two of them turned me down.

You’ve described a lot of the work as ‘post-modem’ can you explain what you mean by that?

I came up with the term and now I’m desperately trying to work out what it means. Post-modem is art that has high click potential, that invites being shared between people. This usually requires the art to have at least two parts; ‘embroidery – but into car bonnets’ or ‘a mushroom cloud – that’s also a tree house’. I think the internet puts greater demands on art. You could call it ‘gimmicky’ if you like, but I think that misses the point. We have a new medium for sharing visuals that rewards novelty, insight and humour, but also recognises technical skill in a way modern art has ignored for fifty years.

Also I am interested that this show is on such a grand scale – now your work appears in museums and special Banksy theme parks are you still a Street Artist? 

This is not a street art show. It’s modelled on those failed Christmas parks that pop up every December – where they stick some antlers on an Alsatian dog and spray fake snow on a skip. It’s ambitious, but it’s also crap. I think there’s something very poetic and British about all that.

On the list of people whose work you have included in Dismaland is Damien Hirst – if you see yourself as outside the art establishment, why have you included Hirst who is the epitome of the YBA monied art crowd in your show? 

I didn’t want to include Damien Hirst, the show doesn’t need his validation or any of the baggage that might come with his name. But when you’re organising an art show at the seaside and you know there’s a sculpture of a beachball hovering on a jet of air above fifty sharpened steak knives – well, you have to include it. That piece is so poetic and technically intriguing. This show is packed with a lot of exciting new artists it would be profoundly depressing if the stand-out artist was Damien Hirst. But you can’t argue with the piece. It’s bigger than what you think of him, or what you think of the art world, or even what he thinks of himself. It’s a perfectly realised piece of work.

Can you expand a bit on what you think we should be telling the next generation about the state of the world… if you were a dad what would you tell your kids about the refugees in the Med? Or the surveillance state – or for that matter, Jeremy Corbyn?

In the remote control boat pond at Dismaland it randomly switches the boat you operate – so you have no control over whether your destiny is to be an asylum seeker or a western super-power.

I feel like my generation was the first to deal with the mass media beaming the world’s problems to us in real time. I remember the baked beans cooling in my mouth as Newsround showed pictures of flies crawling over the faces of African babies. Mostly we’ve chosen to deal with this by cocooning ourselves, that we can live with the guilt. But why should children be immune from the idea that to maintain our standard of living other children have to die trapped in the hulls of boats in the bottom of the Mediterranean? The grown-ups might have convinced themselves small incremental change and buying organic tomatoes is enough, but passing that mindset onto the next generation doesn’t feel like good parenting.

Is Dismaland something you will repeat? Could it become a permanent attraction? Given the huge demand, would you extend the run?

I can’t extend the run because of technical calculations. We have tall structures which have been built and certified for one weather period. It gets windy there and we’re not insured for one minute past the last day of September.

What has been the best thing about opening your Bemusement park, and the worst? I know you expected people to be shocked, but they don’t seem to be… has the reaction been different to what you expected? 

There have been teething problems. I didn’t realise that for the first week we had ‘real’ security searching people before they got to the ‘ironic’ security, which obviously blunted the satire a bit. But I’ve learnt you should never underestimate what children are prepared to take on board and respond to. It’s fascinating to see that by not ignoring some more serious issues people find it emboldening rather than depressing.

However the first day I wandered round with the public I have to admit there was no-one more disappointed than me. I think the whole concept might be flawed. By repackaging an art show as an amusement park everybody’s expectations are raised substantially. The branding writes a cheque that the event doesn’t cash. I was there looking at Ben Long’s sculpture of a horse constructed from scaffolding, a piece that if it was shown in the V&A alongside other sculptures would be remarkable, but the lady next to me asked her husband ‘Does it do anything?’ I suddenly realised the whole premise was wrong, I’d pushed it too far and it had gone from being a pretty good art show to a very sub-standard amusement park. I mean, who stands in the Tate looking at a Henry Moore asking – does it do anything?

Why has Jonathan Jones at the Guardian so got it in for you? I’d have thought they would be your natural constituency… how do you respond to his charge that your art is facile and one dimensional?

A lot of critics don’t like this kind of art because it doesn’t require their validation or interpretation. There’s nothing for them to do here.

Fundamentally I disagree with the charge that art is bad if it’s too easy to understand. There’s a place for directness in other art forms – music is full of it, you’d have a hard time telling people they should only listen to Opera and anything else isn’t ‘real’ music. I think there’s space for art to be loud, crass and obvious. If it looks like the rantings of an angry adolescent what’s wrong with that? What was wrong with punk? As far as I’m concerned there are too many things we need to discuss in the actual world before I start making abstract art.

Tell us a bit about the process of making Dismaland, when did you first get the idea? How long have you been down there making things? 

It’s been six months for a handful of us. And it’s hard to stay focussed – we spent three weeks carving the foam wheels for Cinderella’s carriage and nobody notices them at all. It took another month getting the remote control boats to float after I overloaded them with people.

Has there been any blowback from Disney?

I think we’re covered by the new laws on parody that were introduced to the UK in October. Twelve months ago it might have been different.

What do you mean by “I am an Imbecile” balloons – is that patronising to your visitors? Do you look down on mass popular culture?

You’d have to ask David Shrigley what those balloons mean – he made them. All I know is I smiled at the thought of a seven year old clutching one on the train as they made their way home.

If you were prime minister what would be the first things you would do?

Abolish inheritance.

What would you like your epitaph to be?

I don’t care about posterity, that’s what i’d like to be remembered for.