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Cuban artist. politically motivated performance artist, explores the relationship between art, activism, and social change in works that examine the social effects of political and economic power.

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Immigrant Movement International (IMI), an ongoing project initiated by artist Tania Bruguera in 2010, located in Corona, Queens, New York, functions as a community space where art and education are used to empower immigrants personally and politically. Bruguera says that by engaging with contemporary art "[immigrants] understand how to work from their fear and the limitations they put on themselves once they enter this country."

Artist Aliza Nisenbaum, who taught an English class at IMI using art, painted portraits of her students. "A lot of these women are people that hide in some way," says Nisenbaum. "I was trying to give a sense of agency to the women that were here in terms of finding their voice, in terms of art, and in terms of basic English skills." Members of Tletlpapalotzin, an Aztec dance group, perform a traditional ceremony at IMI's Community Celebration Day and discuss their experiences as immigrants living in New York City. "For me being in a ceremony gives me the strength to go forward day to day," says Tletlpapalotzin member Ana Ramirez. "It gives me pleasure to work together with my family of the Tletlpapalotzin group."

More information and credits

Credits

Producer: Ian Forster. Consulting Producer: Wesley Miller & Nick Ravich. Interview: Wesley Miller & Susan Sollins. Camera: Jarred Alterman, Rafael Salazar & Ava Wiland. Sound: Richard Gin & Merce Williams. Editor: Morgan Riles. Artwork Courtesy: Tania Bruguera & Aliza Nisenbaum. Special Thanks: Neshi Galindo, Immigrant Movement International, Queens Museum, Ana Ramirez, Vero Ramirez & Tletlpapalotzin. Theme Music: Peter Foley.

Art21 Exclusive is supported, in part, by the New York City Department of Cultural Affairs in partnership with the City Council; 21c Museum Hotel, and by individual contributors.

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Licensing

Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.

Tania Bruguera, a politically motivated performance artist, explores the relationship between art, activism, and social change in works that examine the social effects of political and economic power. By creating proposals and aesthetic models for others to use and adapt, she defines herself as an initiator rather than an author, and often collaborates with multiple institutions as well as many individuals so that the full realization of her artwork occurs when others adopt and perpetuate it. She expands the definition and range of performance art, sometimes performing solo but more often staging participatory events and interactions that build on her own observations, experiences, and interpretations of the politics of repression and control.

Aliza Nisenbaum was born in 1977 in Mexico City, Mexico, and lives and works in Brooklyn, New York. Her early work consists of small, intensely painted still-lifes of flowers and large, delicate, yet colorful abstractions. In 2012, Nisenbaum began working as an art and English teacher at Tania Bruguera's project, a community center called Immigrant Movement International (IMI); there, she painted intimate portraits of the Mexican and Central American immigrants who frequented the space.

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Cuban-American performer and sculptor. painting, drawing, photography, film/video, sculpture and site-specific works. Her singular interventions embraced the extremities of nature and disrupted societal conventions.

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French-Moroccan artist, civic imaginations, belonging, suppressed historical moments of collective emancipation that span diverse histories, geographies, and generations. illegal migration and the politics of memory of anti-colonial struggles and international solidarity, storytelling at the intersection of history and micro-narratives

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Guatemalan artist. “War, violence, resources—
it was all connected.” histories and circumstances of people in her native Guatemala, but also the violence exerted by power structures around the world

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African American artist and philosopher. race and gender became central to her work, which echoed her experience as a black woman and her attempts to be acknowledged and accepted as such.

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Palestinian artist. Installations, sculpture, video, photography and works on paper. “The concerns in my work are as much about the facts of my origins as they are a reflection on or an insight into the Western institutional and power structures I have found myself existing in,” Exile and migration are both age-old and of keen relevance in Hatoum’s work, as she explores the relationship between resilience and vulnerability of the human body, violence and oppression, expatriation and belongingness.

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Mona Hatoum: Over My Dead Body| Exhibitions | MCA Australia

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The first Australian solo exhibition of prolific Lebanese artist Mona Hatoum.

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Ghanaian-born British artist, writer, film director, screenwriter. investigates memory, post-colonialism, and migrant diasporas through film, video, and media installations.

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British-born, Nigerian artist Yinka Shonibare MBE (born in 1962). painting, sculpture, large-scale mixed media installations, photography and film. works across diverse artistic media to explore ideas about African contemporary identity and the legacy of European colonialism in the present. Shonibare’s art considers social class and aesthetics and is characterised by the use of recurring visual symbols such as ‘Dutch wax’ fabric, since the mid 1990s.

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Franco-Algerian artist. utilises the mediums of photography, film, video, object making, performance and installation. For over 25 years, her practice has addressed themes of history, migration and storytelling.

In Zineb Sedira’s 2002 video work, Mother Tongue, the artist, her mother and her daughter try to exchange childhood memories in their native languages: French, Arabic and English. Sedira was born in Paris to Algerian parents, and moved to London to study art, where her daughter was born. The work reflects on storytelling as a way to preserve cultural identity across generations.

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Helen Johnson is a painter with a particular interest in employing painting to reassert, shake open and question imagery that has played a role in the processes by which Australia has constructed and hidden among false histories of itself since colonial invasion.

Her works engage a broad visual vernacular, including spasming stock market graphs, colonial blueprints, corporate manuals, grassland ecosystems and cobbled together bodies.

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Wiradjuri and Ngunnawal peoples. interdisciplinary practice ranges across installation, performance and museum intervention, interweaving Wiradjuri language and actions of memory and history with the imagery and devices of museum practice.

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Waanyi, Gulf region.Watson’s matrilineal link to the country of her ancestors has always been central to her printmaking and painting. rubbings, engravings and incisions – and subtly inscribes them upon her work. Often using natural materials found in situ, she colours the canvas while it is laid wet on the ground, allowing the earth’s contours to form a blueprint for the pigments pooling upon it.

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Trawlwoolway, Tasmania. The violent colonial process of attempted annihilation and exile, and the subsequent postcolonial acts of connecting, remembering and restoring are invoked in the sculptural installation work of Trawlwoolway artist Julie Gough

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Iranian photographer and visual artist. examines the complexities of women’s identities in the midst of a changing cultural landscape in the Middle East—both through the lens of Western representations of Muslim women and through the more intimate subject of personal and religious conviction.

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Shirin Neshat, Rebellious Silence, Women of Allah series

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Neshat's series examines the complexities of women's identities in the Middle East's changing cultural landscape.

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Born into a Muslim family, Abdul Abdullah uses the outsider status that framed him after 9/11 to take on the myths and power dynamics that shape personal and national identities in a global sphere.

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Abdul Abdullah - The View From Here (long)

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I am a third generation white settler, of German and British descent. I live and work by the Birrarung, on the stolen lands of the Wurundjeri and Boonwurrung people of the Kulin nation

This is my lived experience.

I have a disability, a movement disorder which impacts my mobility and communication.

I won’t be talking about fear here, fear isn’t something we can control. And that’s for a future piece of writing.

It is unfortunate that society as a whole is mostly infantilising toward people that are perceived as lower than themselves.

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Australian artist. interconnection of all life forms, Laurence often produces work in response to specific sites or environments using a diverse range of materials. Alchemical transformation, history and perception are underlying themes in her exhibition work.﻿

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London based. shared human experience of being alive today. Fascinated by the transience of human existence, Talbot raises deep questions about our place in a universe shaped by interconnection and perpetual change. Amid ecological collapse and political instability, her art illuminates the urgent need for a hopeful reimagining of the future—one shaped by resilience, creativity and care.

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South African artist and visual activist working in photography, video, and installation. Muholi's work focuses on race, gender and sexuality.

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African American artist. https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQVsePAUSwbWUW1GztOnAwpZHda2f1qesbeDw&sRoberts is a mixed media collage artist whose figurative works depict the complexity of Black subjecthood and explores themes of race, identity, and gender

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Kenyan American. In her diverse practice, Wangechi Mutu reflects on sexuality, femininity, ecology, politics, the rhythms and chaos of the world and our often damaging or futile efforts to control it. At its core, her work emphasises the powerful and inescapable symbiotic connections that determine our common fate.

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including film, video, photography, publications, and public events—to reveal the mechanisms of oppression and colonial violence disguised in everyday life and legislation. Hunt borrows from Relational and Conceptual Art and Institutional Critique traditions, with a focus on archives, legal documents, documentary photographs and footage to hone in on the present. She uses information systems and hierarchies to reflect and critique bureaucratic modes of knowledge and information.

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Lives and works Indulkana, Anangu Pitjantjatjara Yankunytjatjara (APY) Lands, South Australia and Alice Springs, Northern Territory. Western Aranda people. subversive portraitistconnections between leadership, wealth, power and influence, and his work offers a critique of the principles of power.

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Now based in Goonellabah, Lismore, on Bundjalung Country, cross-cultural Wiradjuri woman Karla Dickens brings a black humour to her unflinching interrogation of subjects such as race, gender and injustice, revealing her often raw pain along the way.https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTYv1pCJNPFPo01pZMgUt97UPoK7wxQ1x7reA&s

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Democratic Republic of the Congo artist. Colliding reality and representation, his multi-media installations expose past tensions and present entanglements. He mines the archive, traces social history in architecture and landscapes, and probes the body as a site of memory and witness to operations of power.

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Puerto Rico-based artists.Through a complex research-oriented practice, Allora & Calzadilla critically address the entanglements between history, ecology, and geopolitics using a multiplicity of artistic media that include performance, sculpture, sound, video, photography and painting.

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Amanda Williams is a Sydney-based photo media artist. analogue photographic techniques to examine connections between the history of photography and physical environments. Her work embraces the potential of the photograph as a material object, with particular attention paid to the hand printing of images in the darkroom using alchemical processes – light, time, chemistry, film, and paper substrate

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I work with many layered durational projects. Using materials which are often site/time dependent such as clay/dirt, ash and plant matter. Embodying the relationship between the othered female body, esoteric ecologies and lunar/solar temporalities.https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcQn4I125fhvgINwPRoYVEdhmi3mKA9dXdxGdg&s

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Beninese multi-media artist. contemporary griot, a story-teller who functions as an intermediary between the ancestral past and contemporary individual and collective memory in West African cosmology. She articulates the social and symbolic undercurrents of colonial and post-colonial legacies, processing the signifiers of trauma through materially embodied images.https://bienal.iksv.org/i/content/33177_1_18ib-1366x550-PelagieGbaguidi.jpg

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Japapanese movement-based artist. Movement is fundamental to the artist Eiko Otake, who uses her body to explore themes of mortality, time, and place

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Japanese artist. practice grounded in relationships, rather than creating specific objects. His affective and often humorous works are prompted by an anecdote, a conversation, a trip to a new place or the artist’s own curiosity, and are developed through experiments with humans, animals or other beings that take place in natural and public spaces.

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German-born designer and researcher Julia Lohmann investigates and critiques the ethical and material value systems underpinning our relationship with flora and fauna.

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British South African artist. explore the relationship between humans, technology and nature. Many of her works are achieved using artificial intelligence and synthetic biology

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Architecture of Territory | Prof. Milica Topalovic

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Alexandra Daisy Ginsberg - BETTER NATURE

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New Orleans. Grace Grothaus is a computational media artist whose research questions center around human agency and balance within the built and natural environment.

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more-than-human - Grace Grothaus - Artist Interview

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investigating the invisible through the visible, with a wide-reaching approach that spans image-making, sculpture, investigative journalism, writing, engineering, and numerous other disciplines. Paglen’s investigation into the epistemology of representation can be seen in his Symbology and Code Names series which utilize text, video, object, and image to explore questions surrounding military culture and language. Among his chief concerns are learning how to see the historical moment we live in and developing the means to imagine alternative futures.n Paglen’s investigation into the epistemology of representation can be seen in his Symbology and Code Names series which utilize text, video, object, and image to explore questions surrounding military culture and language. Among his chief concerns are learning how to see the historical moment we live in and developing the means to imagine alternative futures.

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Watson’s matrilineal link to the country of her ancestors has always been central to her printmaking and painting. works across painting, printmaking, drawing and sculpture

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Who is Judy Watson?

Judy Watson was born in 1959 in Munduberra, Queensland, Australia and lives and works in Brisbane.

The artist uses printmaking, drawing, painting and installation to explore themes relating to her Aboriginal heritage.

Watson's matrilineal family is from Waanyi country in Northwest Queensland and her work is inspired by traditional Waanyi culture.

Archives and histories

Judy Watson uses archival documents and photographs in her art.

She uses the extensive documentation of Aboriginal people in Australia as a resource, but describes discovering how her ancestors were treated as a 'heavy burden'.

For her artwork a preponderance of aboriginal blood 2005, Watson used documents from the Archive of Queensland State, where her family are from.

The documents reveal how Aboriginal Australians were discriminated against over their voting rights until the 1960s. Before 1965 their right to vote depended on whether a person was a 'full-blood Aborigine' (and therefore not entitled to vote) or a 'half-caste' (entitled to vote).

Her copies of these archive documents are layered with blood-like pools of red paint, symbolising the pain and deaths of Aboriginal people.

Judy Watson
a preponderance of aboriginal blood 2005
Collection: Museum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2016
© Judy Watson

Techniques and materials

Judy Watson trained as a printmaker at art school.

Printmaking often involves using several processes, creating layers and transferring visual information across different surfaces. These techniques have inspired her approach to painting.

Judy Watson
heron island suite 6 2009/10
Collection: Museum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2016
© Judy Watson

Judy Watson
heron island suite 8 2009/10
Collection: Museum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2016
© Judy Watson

By working on the floor, pouring paint and laying the canvas over textured objects and surfaces, Watson creates unexpected marks and patterns.

Watson also experiments with accidental effects by mixing together a wide range of varnishes, inks, pastels and dry pigments.

The artist further adds shells, clay or bark into the mix and even uses the weather! By leaving canvases outside, the elements (as well as dirt and insects) leave unexpected traces and stains on the cloth.

Judy Watson painting in her studio 2019
© Tate Digital

Collaboration and activism

Shared experience is an important part of Judy Watson's working process.

The artist collaborates with family members to make some of her pieces. She also collaborates with other artists and with the wider Australian community.

Her on-going project the names of places 2016 is a collaboration with the public. The project aims to map all the places in Australia where horrific massacres of Aboriginal people took place.

Watson invites people to contribute their knowledge of where these massacres happened and adds these place names to a database and website that form part of the project. In this way the place names become part of the collective consciousness of the Australian people.

Judy Watson in her studio 2019 © Tate Digital

Tate, The Museum of Contemporary Art Australia (MCA) and Qantas are partners in an International Joint Acquisition Programme for contemporary Australian art. Judy Watson a preponderance of aboriginal blood 2005 was purchased jointly by Tate and the Museum of Contemporary Art Australia with fund provided by the Qantas Foundation, 2016.

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Who is Judy Watson? Judy Watson was born in 1959 in Munduberra, Queensland, Australia and lives and works in Brisbane. The artist uses printmaking, drawing, painting and installation to explore themes relating to her Aboriginal heritage. Watson's matrilineal family is from Waanyi country in Northwest Queensland and her work is inspired by traditional Waanyi culture.

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Ghanaian sculptor. Anatsui’s beautiful quilts of silver and dull gold transcend their materials to become a metaphor for shifting contexts and images of Africa. Embedded in the metal fragments are multiple histories and influences, ranging from the effects of the colonial period on Africa to current problems facing its people, including alcoholism, pervasive poverty, and the impact of global markets on the continent’s economies.

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Unveiling the power of cultural heritage and cuisine, artist Sijia Chen sparks new dialogues at the intersection of art, identity, and globalized economies.

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Menus, visas, glue – a paper-cut collage of cultural identity and migration stories

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Tuan Andrew Nguyen's artistic practice is rooted in memory, history, and the enduring impact of conflict and violence, particularly in his native Vietnam

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This exhibition of the Tuan Andrew Nguyen’s film, The Island, is shown for the first time with Bidong Spirit I, a sculpted headdress that appears in the film.

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British Afro-Caribbean artist. examines the effect of the historical dispersion of Black, African peoples across the globe through slavery and colonisation

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Irish artist. photography and video. Mosse's immersive video installation, Broken Spectre (2022) describes a complex web of deforestation and environmental crimes unfolding in the Amazon Basin

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Kuku Yalandji, Waanji, Yidinji and Gugu Yimithirr peoples. Vernon Ah Kee’s conceptual text pieces, videos, photographs and drawings form a critique of Australian culture from the perspective of the Aboriginal experience of contemporary life

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Museum of Contemporary Art Australia (MCA)

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Museum of Contemporary Art Australia (MCA)

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Vernon Ah Kee artist interview | Stories & ideas | MCA Australia

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Vernon Ah Kee talks about his series of drawings, Fantasies of the good , 2004.

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Emily Jacir’s research-based practice encompasses photography, video, performance, and installation. In her work, she focuses on themes of migration, translation, exchange, and resistance relating to the history of colonization and her identity as a Palestinian living under Israeli occupation.

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French-Algerian artist Kader Attia (born 1970) works across diverse media including collage, photography, video, sculpture and installation.  Exploring ideas around cultural exchange, appropriation, and the tangled relationship between extra-Occidental cultures and the West in the wake of decolonisation, Attia articulates theories of ‘injury’, ‘repair’ and ‘reparation’ through his practice.

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Yhonnie Scarce is a Kokatha and Nukunu artist who employs the medium of glass to dazzling effect, weighing in on the colonial trauma and displacement of Aboriginal peoples.

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21 reactions | Thunder Raining Poison by Yhonnie Scarce underscores the ways in which contemporary Aboriginal and Torres Strait Islander artistic practice is informed by intergenerational experiences and embodied knowledge, acknowledging that the sky has long been witness to and a bearer of destruction. Her fragile, hand-blown glass yams serve as a physical testament to the atrocities wrought on the Maralinga Tjarutja, Kokatha, Pitjantjatjara and Yankunytjatjara peoples. See Thunder Raining Poison at Too Deadly: Ten Years of Tarnanthi until 18 Jan 2026. ✏️ Words by Erin Vink for the Tarnanthi 2025 Catalogue.
🎥 Video by Closer Productions | Art Gallery of South Australia

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Thunder Raining Poison by Yhonnie Scarce underscores the ways in which contemporary Aboriginal and Torres Strait Islander artistic practice is informed by intergenerational experiences and embodied…

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Gumbaynggirr artist. Aretha Brown’s ongoing THE TEACH BLAK HISTORY PROJECT includes large-scale public murals, performances and merchandise that seek to foster awareness and real change through conversation and self-reflection.

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Ngugi woman belonging to the Quandamooka people of Moorgumpin (Moreton Island) and Minjerribah (North Stradbroke Island), Queensland. She is multi-disciplinary artist who works across the mediums of painting, textiles and weaving. Her practice visually explores the beauty of nature and her surrounding environment, drawing inspiration from her cultural identity and heritage. Her contemporary explorations of Quandamooka weaving provide a modern and unique twist on this enduring cultural tradition.

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AGSA - The Art Gallery of South Australia

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Sonja Carmichael and Elisa Jane Carmichael

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Inspired by Minjerribah (North Stradbroke Island) to explore contemporary materials and techniques

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Ngarrindjeri artist. sharp social commentaries on contemporary Aboriginal life. exemplifies his frequent focus on the complex relationships between Aboriginal and non-Aboriginal people and the enduring impacts of past tragedies on present- day people and events.

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painting, photography and mixed media.. provoked by stereotypical representations of Aboriginal people and the colonial history that attempts to define him, and what Aboriginality is, in the present.

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Keerray Woorroong Gunditjmara woman Vicki Couzens has worked in the Aboriginal community, profoundly changing the cultural landscape around her.

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Dr Vicki Couzens: The importance of Country

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Lebanese. installation, performance, video, and photography to explore how historical events of physical and psychological violence affect bodies, minds, culture, and narrative.

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Japanese, German. focuses on the role of media, technology and the circulation of images in the era of digital nativismexploration of late capitalism’s social, cultural and financial imaginaries

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Meanjin/Brisbane-based artist. Barth’s work explores themes of self representation and embodiment, contending with her experience as a trans-woman, navigating the constant pressures of visibility and vulnerability.

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Tiravanija’s installations transform exhibition spaces into social situations where viewers become active participants. Works such as untitled (1990) [pad thai] invited visitors to share a meal he prepared, symbolizing hospitality and dialogue. His projects blur boundaries between art and life, exploring themes of community, politics, and globalization through acts of collective care and everyday rituals.

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Jazz Money is a Wiradjuri poet and artist based on Gadigal land, Sydney. centred around poetics to produce works that encompass installation, performance, film and print

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artist working between data-mapping and information-mining, conflict topographies, legacies of literature and the politics of translation

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Grayson Perry. Map of an Englishman. 2004 | MoMA

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Grayson Perry. Map of an Englishman. 2004. Etching. Sheet: 44 1/8 x 59 1/16″ (112.1 x 150 cm). The Paragon Press, London. Stoneman Graphics, Cornwall, England. Patricia P. Irgens Larsen Foundation Fund. 212.2005. © 2023 Grayson Perry. Drawings and Prints

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https://www.sfmoma.org/artist/Jason_Lazarus/

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BOMB Magazine | Artist, Occupied: Jason Lazarus

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Artist Jason Lazarus has his hands full—with GIFs, pics, and sign-sticks.