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Race and the Memory of Evil
Chapter 1: On the Use and Abuse of Historical Comparison from the book Learning from the Germans: Race and the Memory of Evil by Susan Neiman, 2019

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pecialFatima El Tayeb, ‘Blood Is a Very Special Juice”: Racialized Bodies and Citizenship in Twentieth-Century Germany’, International Review of Social History 44 (1999), pp. 149—169

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Gallery Activities and Reflection Prompts

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Gallery Activities and Reflection Prompts

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NYU Astor Fellows - BERLIN 2022 Gallery Activities_Reflection Prompts

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Challenging oppression: how grassroots anti-racism in Berlin breaks borders

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Challenging oppression: how grassroots anti-racism in Berlin breaks borders

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Challenging oppression how grassroots anti racism in Berlin breaks borders.pdf

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Audre Lorde – The Berlin Years 1984 to 1992

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Credits

Executive Producer: Tina Kukielski. Series Producer: Nick Ravich. Directors: Rafael Salazar & Ava Wiland. Producer: Ava Wiland. Editor: Thomas Niles. Director of Photography: Rafael Salazar.

Production Coordinator: Ife Adelona. Curatorial Assistant: Danielle Brock. Advising Producer: Ian Forster.

Title Sequence & Typography: Afternoon Inc. Composer: Joel Pickard. Narration: Carrie Mae Weems. Additional Photography: Rehana Esmail, Christoph Lerch, & Anne Misselwitz. Aerial Camera: Martin Paschkowski. Sound: Jaime Guijarro-Bustamante. Additional Sound: Rasmus Damsgaard, Marc Parisotto, Fokke van Saane, & Ava Wiland. Production Assistant: Flavia Barragan Clavero, Claudia Gülzow, Tim Oppermann, & Manuel Schmit.

Digital Intermediate: Blue Table Post. Post-Production Producer: Oliver Lief. Colorist: Natacha Ikoli. Re-Recording Mixer & Dialogue Editor: Rich Cutler. Additional Animation: Andy Cahill. Assistant Editor: Caroline Berler, Adam Boese, Maya Elany, & Jonah Greenstein. Technical Evaluation: Pillar To Post. Translation: Rehana Esmail & Ridwan Zebari.

Artwork Courtesy: Nathalie Djurberg & Hans Berg, Olafur Eliasson, Hiwa K, Susan Philipsz, KOW, Lisson Gallery, & Tanya Bonakdar Gallery. Eliasson Artwork: "Cirkelbroen," Copenhagen, 2015; "Din blinde passager (Your blind passenger)," ARKEN Museum of Modern Art, Copenhagen, 2010; "Ice Watch," Place du Panthéon, Paris, 2015; "Map for unthought thoughts," Fondation Louis Vuitton, Paris, 2014; Rainbow assembly, Leeum, Samsung Museum of Art, Seoul, 2016; "Reality projector," Marciano Foundation, Los Angeles, 2018; "Riverbed," Louisiana Museum of Modern Art, Humlebæk, Denmark, 2014; "Sphere," Fünf Höfe, Viscardihof, Munich, 2003; "The weather project," Tate Modern, London, 2003; "Umschreibung," KPMG Deutsche Treuhand-Gesellschaft, Munich, 2004; "Vejr i vejret," Ordrupgaard Kunstpark, Denmark, 2016; "Wirbelwerk," Lenbachhaus, Munich, 2011; "Your rainbow panorama," ARoS Aarhus Kunstmuseum, Denmark, 2011; "Your split second house," 12th International Architecture Exhibition of La Biennale di Venezia, Venice, 2010.

Archival Materials: 47 Film / Andy Cameron; BBC Motion Gallery / Getty Images; Critical Past; Footage of Olafur Eliasson's "Waterfall, Versailles, 2016 by Barbara Fecchio, Courtesy of Sculpture Nature; Internationale Filmfestspiele Berlin; Newsroom GmbH / Max Roehrle; NPR; Olafur Eliasson interview courtesy Public Art Fund; Pond5; SHIMURAbros; Studio Olafur Eliasson; Transit Film; & Walker Art Center / Andy Underwood.

Additional Art21 Staff: Maggie Albert, Lindsey Davis, Lolita Fierro, Joe Fusaro, & Jonathan Munar. Interns: Diane Huerta, Esther Knuth, Sunny Leerasanthanah, & Kristopher Neira. Public Relations: Sutton. Station Relations: De Shields Associates, Inc. Legal Counsel: Barbara T. Hoffman, Esq.

Special Thanks: The Art21 Board of Trustees, Leila Akhmetova, Bakir Ali, Bettina Bärnighausen, Sebastian Behmann, Finn Bergquist, Thomas Blees. Rainer Brennecke, Johanna Chromik, CityQuartier FÜNF HÖFE, De Appel, Ina Dinter, Documenta 14, Joel Draper, Caroline Eggel, Jeremy Eichenbaum , El Otmani Gym, Anna Engberg-Pedersen, Emilie Engbirk, Anna Fedotova, Guillermo F. Florez, Annie Claire Geisinger , Glasgow International Festival of Visual Art, Nora Gomez-Strauss, Marina Greiner , Felix Hallwachs, Christine Hauptsummer , Haus der Geschichte Österreich, Lauren Jack, Patricia Kamp, Wanås Konst, KPMG Deutsche Treuhand-Gesellschaft Munich, Camilla Kragelund, KW Institute for Contemporary Art, Sharron Lee, Clara Jungman Malmquist, Julia Jungman Malmquist , Marciano Art Foundation, Augustin Maurs , Eoghan McTigue, Alan Miller, Elisabeth Millqvist , Museum Frieder Burda | Salon Berlin, Nationalgalerie im Hamburger Bahnhof, Alexander Psavke, Sara Roffino, Schlossmuseum Sondershausen, Emily Skeppner, United States Holocaust Memorial Museum, Niels Van Tomme , Lucie von Eugen, Jill Vuchetich, Wanås Konst, Sven Weigel, Wolfgang Wenke, Robin Woerlen-Leikam, Michaela Zach, & Katja Zeidler.

Series Created By: Susan Dowling & Susan Sollins.

Major support for Season 9 is provided by National Endowment for the Arts, PBS, Lambent Foundation, Agnes Gund, Ford Foundation, The Andy Warhol Foundation for the Visual Arts, The Anna-Maria and Stephen Kellen Foundation, The Horace W. Goldsmith Foundation, Toby Devan Lewis, Nion McEvoy, and The Phyllis C. Wattis Foundation.

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Since the 1990s Berlin has become a haven for artists from all over the world-a free zone where experimentation, individual expression, and international influences converge. The artists in this episode demonstrate the diversity of practice and sensibilities in the German capital, expose its complicated history of war and migration, and convey hopes for finding systems that foster a better tomorrow.

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Exclusive clip from The White Ribbon, Michael Haneke's Palme d'Or-winning parable of fascism, on UK release from 13 November

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The Lives of Others Opening Scene - Getting the Confession

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Why people vote conservative - "The Edukators" movie scene

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Astor Fellows  Schedule – Berlin & Kassel July 4-14

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There is an expression that says you can't judge someone until you have walked a mile in their shoes. During this tour you will have the opportunity to walk in the footsteps of the people involved in the refugee rights movement in Berlin and follow the journey that a refugee from Sudan has taken whilst fighting for his rights in Germany.

The tour will follow the route from the formerly occupied Oranienplatz, where the refugee rights movement began in Berlin in 2012 and take you through Kreuzberg, ending at the occupied Gerhard-Hauptmann-Schule.
This is your chance to get to know someone with a refugee status and understand the challenges they have faced, and continue to face, as people claiming asylum in Germany.

When: This tour is on private request only. Please contact us for more details.

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'A Journey Through the Refugee Rights Movement'

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There is an expression that says you can't judge someone until you have walked a mile in their shoes. During this tour you will have the opportunity to walk in the footsteps of the people involved in the refugee rights movement in Berlin and follow the journey that a refugee from Sudan has taken whilst fighting for his rights in Germany.

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Die 1969 mit basisdemokratischer Struktur gegründete neue Gesellschaft für bildende Kunst (nGbK) ist einer der aktivsten und mitgliederstärksten Kunstvereine Deutschlands. Die einzigartige Struktur der nGbK ermöglicht eine direkte Einflussnahme auf die inhaltliche Ausrichtung: Ausstellungen, Interventionen, Rechercheprojekte, Veranstaltungsreihen und Publikationen werden von Mitgliedern in interdisziplinären Projektgruppen entwickelt und von der ersten Idee bis zur Realisierung betreut.

Auch die Entscheidung über das Programm der nGbK obliegt den Mitgliedern. Es wird jedes Jahr in einem kollektiven Prozess diskutiert und gewählt. So konnte eine Vielzahl von Projekten realisiert werden, deren Bedeutung auch in der Rückschau kaum zu überschätzen ist: Die nGbK hat sich früh als innovativer Ort zeitgenössischer Kunst- und Ausstellungsproduktion etabliert, der Generationen von Kurator_innen, Künstler_innen und Kulturschaffende beeinflusst hat und dessen experimentelle Ausstellungskonzepte als wegweisend gelten, von dem wichtige Impulse ausgehen und Fragestellungen von gesellschaftspolitischer Relevanz bearbeitet werden. Themen wie Rassismus, Nationalismus und Stadtpolitik werden immer wieder verhandelt und die Auseinandersetzung mit (post)migrantischen, (post)kolonialistischen und Gender-Fragestellungen bildet einen weiteren Fokus. Virulente Diskurse und Debatten werden offen diskutiert und zeitnah reflektiert. Dabei wird Kunst als Handlungsform verstanden, die auf gesellschaftliche Prozesse zurückwirkt.

Die aktiven Mitglieder bearbeiten ihre Themen mit großem persönlichen Engagement und gestalten damit ein Programm, das die Ursprungsidee der Gründer_innen des Vereins weiterträgt:
die Suche nach einer neuen Gesellschaft.

Die neue Gesellschaft für bildende Kunst (nGbK) wird gefördert durch die LOTTO-Stiftung Berlin und die Senatsverwaltung für Kultur und Europa. Die Transformationsphase des Vereins wurde 2021 zusätzlich aus Mitteln der Stiftung Kunstfonds und des NEUSTART-KULTUR-Programms unterstützt.

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Die 1969 mit basisdemokratischer Struktur gegründete neue Gesellschaft für bildende Kunst (nGbK) ist einer der aktivsten und mitgliederstärksten Kunstvereine Deutschlands. Die einzigartige Struktur der nGbK ermöglicht eine direkte Einflussnahme auf die inhaltliche Ausrichtung: Ausstellungen, Interventionen, Rechercheprojekte, Veranstaltungsreihen und Publikationen werden von Mitgliedern in interdisziplinären Projektgruppen entwickelt und von der ersten Idee bis zur Realisierung betreut.

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12th Berlin Biennale for Contemporary Art

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Every two years, the Berlin Biennale for Contemporary Art brings together international artists, theoreticians, and practitioners in exhibitions and accompanying programs. With its political profile, it stands for committed art that addresses the urgent questions of the present. The 12th Berlin Biennale takes place from June 11 to September 18, 2022, and is curated by Kader Attia.

12th Berlin Biennale for Contemporary Art

Kader Attia looks back on more than two decades of decolonial engagement. As an artist, thinker, and activist, he has been particularly engaged with the notion of repair -first of objects and physical injuries, and then of individual and societal traumas. Throughout his practice, repair has emerged as a mode of cultural resistance, a form of agency that finds expression in diverse practices and fields of knowledge. In his role as curator of the 12th Berlin Biennale, Attia makes this form of agency the starting point of a program that involves contributors and audiences in a critical conversation, in order to find ways together to care for the now.

Ana Teixeira Pinto, Đỗ Tường Linh, Marie Helene Pereira, Noam Segal, and Rasha Salti have been invited to join its artistic team. They work in close collaboration with Kader Attia, contributing their unique perspectives to the project's core decolonial concept through the lenses of their diverse backgrounds and critical practices.

The international selection committee for the curatorship of the 12th Berlin Biennale included: Yael Bartana (artist, Amsterdam, NL, and Berlin, DE), Beatrice von Bismarck (professor of art history and visual culture at Hochschule für Grafik und Buchkunst / Academy of Fine Arts, Leipzig, DE), Anita Dube (artist and independent curator, Greater Noida, IN), Krist Gruijthuijsen (director of KW Institute for Contemporary Art, Berlin), Sohrab Mohebbi (Kathe and Jim Patrinos Curator of the 58th Carnegie International, Pittsburgh, US), Gabi Ngcobo (artist, educator, and independent curator, Johannesburg, ZA), and Gabriela Rangel (writer and director at Fundación Malba - Museo de Arte Latinoamericano de Buenos Aires, AR).

The Berlin Biennale for Contemporary Art takes place every two years at varying locations in Berlin and is defined by the differing concepts of its renowned curators. It promotes experimental formats and provides the appointed curators the space and freedom to present the latest relevant and challenging positions independent of the art market and collection interests.

Each edition brings together artists, theorists, and practitioners from different fields to let them enter into a dialogue with the city of Berlin and its public. The German capital is continuously under change thus remaining fragmented, diverse, and contradictory. The Berlin Biennale explores artistic developments to present the unseen and the unfamiliar against the backdrop of this stimulating atmosphere. Participation in the exhibition has contributed to numerous young artists achieving international status.

Read more about former editions on the institutional website.

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Every two years, the Berlin Biennale for Contemporary Art brings together international artists, theoreticians, and practitioners in exhibitions and accompanying programs. With its political profile, it stands for committed art that addresses the urgent questions of the present. The 12th Berlin Biennale takes place from June 11 to September 18, 2022, and is curated by Kader Attia.

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BERLIN - Since relocating to Berlin in 2015, I have encountered time and again the phrase "Refugees Welcome." On the S-Bahn, printed on t-shirts, plastered onto innumerable bathroom stall doors, "Refugees Welcome" has become the rallying cry of Berliners opposed to the Alternative for Germany (AfD) party, which last year won nearly 14% of votes in the federal election. The first right-wing political party to enter parliament since 1949, the AfD opposes Chancellor Angela Merkel's long-standing open-door policy towards refugees, undermining Germany's reputation as a safe place for displaced people.

This year's Berlin Biennale offers incisive commentary on the disturbing resurgence of nationalism in Germany. Entitled "We Don't Need Another Hero" - a reference to Tina Turner's 1985 anthem - it makes a strong case for art as a force for social change without pretending to offer any easy solutions.

"We draw from a moment directly preceding major geopolitical shifts that brought about regime changes and new historical figures," lead curator Gabi Ngcobo writes in the exhibition's outline, "refusing to be seduced by unyielding knowledge systems and historical narratives that contribute to the creation of toxic subjectivities."

Since its founding in 1996, the Berlin Biennale has sought to foster radical political discourse. The first Berlin Biennale was fueled by a desire for "civic transformation," as curators Nancy Spector, Hans Ulrich-Obrist, and Klaus Biesenbach put it in the exhibition catalogue. At the time, Berlin was still coping with the collapse of the German Democratic Republic and the subsequent influx of refugees from East Germany, and the messy politics of reunification served as a catalyst for artistic experiments. The idea of establishing a biennale in Berlin was not only about marketing the city as a newly reunited Western capital, but also about developing new artistic resources in terms of organizing, activism, event planning and political protest.

In 2012, after the emergence of Occupy Wall Street, the Arab Spring, and growing discontent in Europe over austerity, the 7th Berlin Biennale became an incubator of protest and politics. While there have been blips along the way - BB9 gave us a Rihanna statue - the Berlin Biennale has tended to serve as a political gathering place.

That remains the case at BB10. This year, for the first time in its history, the Berlin Biennale is led entirely by curators of color, and most of the artists featured are women. Gabi Ngcobo chose four co-curators - Yvette Mutumba, Nomaduma Rosa Masilela, Moses Serubiri, and Thiago de Paula Souza - who together commissioned 30 new works, set across three main venues.

One work, a video by Natasha Kelly, features eight black women artists and curators describing how various forms of oppression have prevented them from finding meaningful employment in the German cultural sector. Called "Milli's Awakening" (2018), the film's title references an expressionist painting by Ernst Ludwig Kirchner, called " Sleeping Milli " (1911) - a highly sexualized and exoticized depiction of a reclining black female nude. In contrast, the women in Kelly's film speak loudly and clearly against their objectification and oppression. Implicitly directed toward entrenched German cultural elites, the majority of whom are white, the women's voices reverberate with a sense of defiance.

The piece brings to mind the controversy that surrounded the Brooklyn Museum's recent appointment of Kristen Windmuller-Luna, a white woman, as curator of African art. The museum subsequently faced backlash from Decolonize This Place , a coalition of activists who advance redress for ongoing legacies of oppression, especially with respect to the status of African art and culture.

Juxtaposing racial exploitation in art and sport, Sondra Perry's multi-layered art-documentary "It's in the Game '17″ (2018) offers a strong one-two punch. The film masterfully compares the unfair profiteering off of college athletes in the NCAA to the ill-gotten gains of African and Asian objects in the collection of the Metropolitan Museum of Art . (As recently as 2013, for example, the Met was forced to repatriate two statues to Cambodia after Cambodian officials presented evidence that the artifacts had been looted from an ancient temple in the country.)

Heba Y. Amin's installation, , one of the most powerful works of the biennale, references a ridiculous, unrealized plan by German architect Herman Sorgel in the 1920s to drain the Mediterranean Sea and merge Europe and Africa into one supercontinent.

In a video, Amin performs as a leader of a fictional nation, delivering a speech about how connecting Africa and Europe would "bring an end to terrorism and the migration crisis [and] confront the rise of fascism," as she puts it in her artist's statement . This bewildering rant, it turns out, is composed entirely of fragments from actual speeches of eight dictators from the past and present, including Benito Mussolini and the recently re-elected Turkish President Recep Tayyip Erdoğan.

One of the most talked-about works of the Biennale, Mario Pfeifer's chilling two-channel video installation, "Again / Noch einmal" (2018), reconstructs a recent of xenophobic violence in Germany. In 2016, in Saxony, four German men dragged an Iraqi refugee with a history of epilepsy out of a supermarket, brutally beat him, and tied him to a tree. After video of the incident went viral, the attackers claimed they had been acting out of "civic courage," and the AfD championed the accused perpetrators as heroes protecting the nation. One week before the accused men went on trial, the frozen body of the Iraqi refugee was found in the woods. The four attackers were eventually acquitted.

Pfeifer's video presents the grizzly details of this case via footage of various reenactments. At one point in the film, a group of Germans are asked to judge the actions of the perpetrators. "Nothing has changed," one says, in what I saw as a foreboding reference to the Holocaust. The film offers a grim reminder that, for many in today's Germany, "Refugees Welcome" is an empty promise.

As I left the venue and made my way home towards Wedding, a district in Berlin with streets dedicated to German colonizers, I saw my surroundings with a renewed sense of contradiction, and reflected on the many ways in which Germany has failed to acknowledge its colonialist past. Walking past numerous "Refugees Welcome" stickers, I turned onto Peters Allee - a street named after Carl Peters, a man who served as Germany's top colonizer in Kilimanjaro during the 1880s, veering towards Nachtigalplatz, named after Gustav Nachtigal, founder of Germany's West Africa colony.

"Colonization has not been the focus of [Germany]'s narrative," Serpil Polat, a scholar who works at a migration academy linked to Berlin's Jewish Museum, recently told Al Jazeera . "On the one side, there is a lack of knowledge and if it is talked about, we have a sense of nostalgia mixed with the thinking that what Germany did wasn't as bad as other European colonizers. So a critical approach hasn't really happened so far."

As I criss-crossed my way through these streets, I started to wonder about how this collective failure to contend with the German history of colonialism relates to the women in Kelly's film, to the Iraqi refugee nearly lynched last year, to initiatives like and to long-delayed, necessary conversations currently taking place in museums across the West.

Earlier this year, curator and writer iLiana Fokianki wrote a blistering critique in e-flux journal arguing that decolonization should be regarded as a threshold with multiple points of entry, which can at times become problematic given the "art world's current obsession (bordering on fetishistic) with 'the Other.'"

In this vein, BB10 establishes a road map. It envisions curatorial practice as a form of social engagement. It inhabits the space of a Western institution without falling into hypocritical tropes of art speak. In doing so, BB10 signals the possibility of a new vocabulary directed at exhibition-making through field work and radical pedagogy. Rather than "giving voice" and whitewashing collective experiences of otherness, BB10 enters into a discourse of non-complacency, reframing historical patterns of colonialism with urgent, intersectional issues, firmly rooted in the present.

The 10th Berlin Biennale continues through September 9 at Akademie der Kunste (ADK) in Berlin-Tiergarten, KW Institute for Contemporary Art in Berlin-Mitte and the Center for Art and Urbanistics (ZK/U) in Berlin-Moabit.

Related

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BERLIN - Since relocating to Berlin in 2015, I have encountered time and again the phrase "Refugees Welcome." On the S-Bahn, printed on t-shirts, plastered onto innumerable bathroom stall doors, "Refugees Welcome" has become the rallying cry of Berliners opposed to the Alternative for Germany (AfD) party, which last year won nearly 14% of votes in the federal election.

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We are currently closed to due reconstruction work.

On 1-2 October KW will be open for 24 hours in order to present by Lydia Ourahmane, a durational sonic live performance.

From 22 October onwards we will be presenting exhibitions by Michel Majerus, Christopher Kulendran Thomas, and Atiéna R. Kilfa.

BLESS N°72 BLESSlet

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We are currently closed to due reconstruction work. On 1-2 October KW will be open for 24 hours in order to present by Lydia Ourahmane, a durational sonic live performance. From 22 October onwards we will be presenting exhibitions by Michel Majerus, Christopher Kulendran Thomas, and Atiéna R. Kilfa.

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2005 eröffnete die Akademie der Künste ihren von Behnisch & Partner realisierten Neubau am Pariser Platz, in unmittelbarer Nähe des Brandenburger Tors. Hier zeigt sie Kunst- und Dokumentationsausstellungen sowie temporäre Installationen und veranstaltet Akademie-Gespräche, Konzerte, Lesungen, Film-, Theater- und Tanz-Aufführungen. In den Neubau integriert sind die renovierten Oberlichtsäle von 1906, in denen schon Max Liebermann seine Werke ausgestellt hatte. Das Erdgeschoss ist mit Passage, Bistro und Buchhandlung öffentlich zugänglich.

Gegründet im Jahre 1696, gehört die Akademie der Künste in Berlin zu den ältesten europäischen Kulturinstituten. Sie war Vorläuferin der Berliner Kunst- und Musikhochschulen, veranstaltete die ersten öffentlichen Kunstausstellungen und hat die reiche Berliner Museumslandschaft mit begründet.

In ihren sechs Sektionen Bildende Kunst, Baukunst, Musik, Literatur, Darstellende Kunst, Film- und Medienkunst hat die Akademie gegenwärtig rund 400 Mitglieder, von denen mehr als ein Drittel außerhalb Deutschlands leben. Mit mehr als 1000 Künstlernachlässen besitzt sie eines der bedeutendsten interdisziplinären Archive in Deutschland sowie eine herausragende Kunstsammlung.

Die Akademie ist ein Ort der Begegnung von Künstlern, der öffentlichen Debatten über Kunst und Kulturpolitik und mit ihrem Archiv ein international geschätzter Ort für die wissenschaftliche Forschung. Einen zweiten Standort hat die Akademie der Künste am Hanseatenweg im Tiergarten.

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2005 eröffnete die Akademie der Künste ihren von Behnisch & Partner realisierten Neubau am Pariser Platz, in unmittelbarer Nähe des Brandenburger Tors. Hier zeigt sie Kunst- und Dokumentationsausstellungen sowie temporäre Installationen und veranstaltet Akademie-Gespräche, Konzerte, Lesungen, Film-, Theater- und Tanz-Aufführungen. In den Neubau integriert sind die renovierten Oberlichtsäle von 1906, in denen schon Max Liebermann seine Werke ausgestellt hatte.

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The Hamburger Bahnhof – Museum für Gegenwart

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The Hamburger Bahnhof – Museum für Gegenwart

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hamburger bahnhof – nationalgalerie der gegenwart

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The Hamburger Bahnhof - Nationalgalerie der Gegenwart is one of the largest and most significant public collections of contemporary art in the world.

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NYU Art+ Education Initial Certification BLOG

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The MA programs in Art+Education at NYU engage a radical approach to visual art education and artistic practice with a special focus on contemporary art and artists. We position the artist-teacher as cultural producer, intellectual, and activist, prepared to work in schools, museums, community-based programs, alternative education sites, and in the public realm. Our programs train students to be innovative researchers and persuasive advocates for the arts in schools and society.

MA Teaching Art / Initial Certification (in NY state)

MA in Art, Education and Community Practice (non Certification degree)

NYU Art Education Activism on INSTAGRAM

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The MA programs in Art+Education at NYU engage a radical approach to visual art education and artistic practice with a special focus on contemporary art and artists. We position the artist-teacher as cultural producer, intellectual, and activist, prepared to work in schools, museums, community-based programs, alternative education sites, and in the public realm.

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The Art + Education program envisions a radical space where contemporary art and social justice education meet. We believe that artist-educators are cultural workers, researchers, public intellectuals, and activists who help us see ourselves and the world in new ways. Our degrees include hands-on experiences in schools, community settings, and the public realm.

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The Art + Education program envisions a radical space where contemporary art and social justice education meet. We believe that artist-educators are cultural workers, researchers, public intellectuals, and activists who help us see ourselves and the world in new ways. Our degrees include hands-on experiences in schools, community settings, and the public realm.

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S A V V Y Contemporary - The Laboratory of Form-Ideas

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Home | Gedenkstätte und Museum Sachsenhausen

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In the Sachsenhausen Memorial and Museum there are thirteen smaller permanent exhibitions illuminating various aspects of the history of the place. The Memorial is a place of mourning and commemoration while at the same time fulfilling its mission as a modern museum of contemporary history. learn more

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Stiftung Denkmal für die ermordeten Juden Europas

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Denkmäler - Stiftung Denkmal für die ermordeten Juden Europas

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Denkmal für die ermordeten Juden Europas Denkmal für die ermordeten

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MEMORIAL TO THE PERSECUTED HOMOSEXUALS UNDER NATIONAL SOCIALISM

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MEMORIAL TO THE PERSECUTED HOMOSEXUALS UNDER NATIONAL SOCIALISM

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Stiftung Denkmal für die ermordeten Juden Europas

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In Nazi Germany, a homosexual persecution took place unparalleled in history. In 1935, the National Socialists ordered the comprehensive criminalization of male homosexuality. To this end, the provisions against homosexual conduct provided for in § 175 of the Criminal Code have been significantly tightened and extended. Already a kiss among men could now lead to persecution. § 175 meant prison or penitentiary. There were over 50,000 convictions. In part, the Nazi authorities were able to force the castration of convicts. Several thousand gays were trafficked to concentration camps because of their homosexuality. In concentration camps - such as Dachau near Munich - they had to wear a pink angle on the prisoner's clothing to identify them. A large part of them did not survive the camps. They died due to hunger, illness and abuse or were victims of targeted killings.

The National Socialists have crushed the lives of gays and lesbians. Female homosexuality was not prosecuted - except in annexed Austria. It was considered less threatening to the National Socialists. Nevertheless, if lesbian women were at odds with the regime, they too were subjected to repression. Gays and lesbians lived intimidated in the Nazi era and under constant compulsion for camouflage. For a long time, the homosexual victims of National Socialism remained excluded from the culture of remembrance of both German post-war states. Here as there, gays were still prosecuted for decades to come. In the Federal Republic of Germany, § 175 remained unchanged until 1969. In many parts of the world, homosexual love is still punishable.

From its history, Germany has a special responsibility to resolutely oppose human rights violations against gays and lesbians. In many parts of the world, people are still persecuted for their sexual identity today, gay love is punishable and a kiss can mean danger.

On 12 December 2003, the German Bundestag decided to build the Memorial to the Persecuted Homosexuals under National Socialism.

"The Federal Republic of Germany is erecting a Memorial to the Persecuted Homosexuals under National Socialism in Berlin. With this place of remembrance, we want to honor the persecuted and murdered victims, keep the memory of injustice alive and send a constant signal against intolerance, hostility and exclusion towards gays and lesbians."

The initiators were the initiative "Der homosexuellen NS-Opfer gedenken" (Commemorating the homosexual Nazi victims) as well as the Lesbian and Gay Association in Germany (LSVD). The memorial site is cared for on behalf of the Federal Government by the Foundation Monument to the Murdered Jews of Europe.
Chronology
1992/1993
In connection with the discussion about the Memorial to the Murdered Jews of Europe, there are first demands and actions in favor of a national Memorial for the Persecuted Homosexuals under National Socialism.

1995
Publication of the memorandum "Der homosexuellen NS-Opfer gedenken" (Commemorating the homosexual Nazi victims).

June 25th, 1999
Decision of the Bundestag to establish the Memorial to the Murdered Jews of Europe - combined with the obligation to "commemorate the other victims of National Socialism in a dignified manner".

May 3rd, 2001
Joint call of the initiative "Der homosexuellen NS-Opfer gedenken" (Commemorating the homosexual Nazi victims) and the Lesbian and Gay Association in Germany (LSVD) for "a Memorial to the Persecuted Homosexuals under National Socialism", which includes the support of Paul Spiegel, Romani Rose, Günter Grass, Christa Wolf, Lea Rosh and others.

May 17th, 2002
The Bundestag decides on the legal rehabilitation of the victims of § 175 in National Socialism.

December 12th, 2003
Decision of the German Bundestag for the construction of the memorial.

2005/2006
Conducting the artistic competition to design the memorial point.

June 4th, 2007
Agreement between the Federal Government, the initiators and the artists Elmgreen & Dragset to further develop their award-winning design.

May 27th, 2008
Handover to the public.

January 26th, 2012
New film in the memorial (artists: Gerald Backhaus, Bernd Fischer and Ibrahim Gülnar).

October 7th, 2014
The original film by the artists Elmgreen & Dragset will be shown in the memorial until a new film competition is announced.

June 3rd, 2018
On the occasion of the tenth anniversary of the Memorial to the Persecuted Homosexuals under National Socialism, Frank-Walter Steinmeier was the first Federal President to speak at this memorial site. At the same time, a new film by the Israeli multimedia artist Yael Bartana can be seen in the memorial.

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Memorial to the Persecuted Homosexuals under National Socialism - Stiftung Denkmal für die ermordeten Juden Europas

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In Nazi Germany, a homosexual persecution took place unparalleled in history. In 1935, the National Socialists ordered the comprehensive criminalization of male homosexuality. To this end, the provisions against homosexual conduct provided for in § 175 of the Criminal Code have been significantly tightened and extended.

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The Humboldt Forum is a place for culture and science, for exchange and debate.

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Go to calendar

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1. Home

2. About Us

3. Stasi Headquarters. Campus for Democracy

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, Source: Dronebrothers.de

Site of Repression, Site of the Revolution, Site of Reflection

What began as a place of repression is now a campus for democracy: The former headquarters of the Ministry for State Security once housed thousands of employees of the secret police tasked with helping to secure the power of the SED-dictatorship. Today it is a place where these injustices of the past are addressed and connected to discussions about contemporary conflicts and values of society.

The headquarters of the Ministry for State Security ( MfS) in Berlin-Lichtenberg was a huge complex with almost 50 buildings and thousands of offices. This is where, for almost four decades, as many as 7.000 official employees organized the surveillance and persecution of the population of the German Democratic Republic.

In January 1990, demonstrators forced their way onto the sealed-off grounds and helped to end the activities of the Stasi. Today this former bastion of SED (East German Communist Party) rule is an educational site about dictatorship and resistance and a learning centre for democracy.

As a place of reflection on the East German dictatorship, the Campus for Democracy is home to the Robert Havemann Society with its archive of the GDR opposition movement and the ASTAK Association running the Stasimuseum. The Stasi Records Archive has its central archive location here. Individual and group visitors can tour the grounds, the archives and the exhibitions as well as attend events.

Things to see

Site plan for the " Stasi headquarters. Campus for Democracy".
Source: Pralle Sonne

Walk-in files, interactive media stations and original objects provide insight into the archive of the GDR secret police
Source: BStU/Dresen

Exhibition "Access to Secrecy"

How did the Stasi store, analyse and use the information it gathered about individuals? "Access to Secrecy" is the first exhibition to present the foundations and content of the GDR secret police archive. Using "walk-in" files, interactive media stations and original objects, it makes it possible to experience the Stasi Records Archive at the historic site. Tours of the exhibition, including a glimpse into the archive, and special project days for school groups are offered regularly.

Read more about the exhibition on www.access-to-secrecy.com

Exhibition "State Security in the SED Dictatorship"

The exhibition "State Security in the SED Dictatorship" is located in "House 1" - with the former offices of the Minister for State Security a central site of the apparatus of repression. It explains the structure, development and work methods of the Stasi. Who were the perpetrators? What was their mission? And how did they go about monitoring and persecuting the GDR population? In addition to the offices of Stasi Minister Erich Mielke, which are preserved in their original form, there are many different objects on display, including special cameras, wiretaps, forced entry tools and equipment used to secretly open letters.

Visitors to the Stasi Museum can explore the former offices of Stasi Minister Erich Mielke, preserved in their original form.
Source: ASTAK/Steer

"Revolution and the Fall of the Wall": The revolution for freedom in the GDR is documented by more than 650 photographs and many historical documents and film recordings
Source: Robert-Havemann-Gesellschaft/Oana Popa

Open-Air-Exhibition "Revolution and the Fall of the Wall"

The permanent exhibition in the inner courtyard of the Stasi headquarters, one of the historic sites of the Peaceful Revolution, documents the most important stages in this event - from the initial protests to the fall of the Berlin Wall and the reunification of Germany. The presentation focuses on the people behind the revolution who brought down the communist dictatorship. An audio guide is available at the visitors centre to accompany visitors through the exhibition.

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Stasi Headquarters. Campus for Democracy

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Home About Us Stasi Headquarters. Campus for Democracy What began as a place of repression is now a campus for democracy: The former headquarters of the Ministry for State Security once housed thousands of employees of the secret police tasked with helping to secure the power of the SED-dictatorship.

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IMPORTANT NOTE: Due to the Corona-Virus, we are afraid to say that the Coordination Office Stolpersteine Berlin is still closed and we cannot be reached by phone as usual. Please leave a message on our answering machine or in urgent cases, please send us an e-mail at info@stolpersteine-berlin.de

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Making Waves: Boat Making Workshop for Refugees

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Making Waves: Boat Making Workshop for Refugees

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لنصنع الأمواج

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Making Waves is a volunteer initiative that invites refugees to build a motor yacht. The workshop offers experience in carpentry, craftsmanship and much more. Participants engage in all stages of construction from design to completion. More...

Details:
Where: Fahrbereitschaft, Herzbergstraße 40-43, 10365 Berlin-Lichtenberg

Requirements:
Age: 18+
Minimum participation: 8-hours/week
Skills: Basic knowledge of hand tools. Those with prior experience in carpentry or other related jobs are especially encouraged.
Partners & Support: BBK Bildhauerwerkstatt, Jobcenter Lichtenberg, Bürgeramt Lichtenberg, Haubrok Foundation, Landesamt für Flüchtlingsangelegenheiten

"We are building the boat ourselves now - of higher quality, with a good motor and features that make it safer than crossing the sea in a raft. I'll remake the experience but in a good way. I'll be at ease and unafraid. There are many safety features on a luxury boat. It will be a different experience."

Participant, Nawras Alwali

We envision the yacht as an exploratory vehicle for the Berlin-Brandenburg region. We chose a Commuter Yacht design, a variation of the popular cabin cruisers used to commute between Long Island and Wall Street in the 1920s. It is sleek, cozy and comfortable in both rain or shine. The hull begins with an elegant V-bottom bow and flows aft into a shallow arc. It is ideal for running up shallow rivers, exploring wildlife in remote places, or conversely, cruising the city's industrial canals and lakes. It can accommodate a party of eight, sleep four, and is extremely fuel efficient. With a little power, she glides across the water.

The workshop is led by the volunteer efforts of artist Daniel Seiple with Hassan Aji, Hanna Aljarada, Walid Bara, Mumtaz Dimashqi, Nafee Kurdy and others. The team offers an array of expertise and various professions including a plumber, pharmacist, dental technician and decorative painter. Participants have come from four continents, and speak an array of languages and varying degrees of German.

In 2016, Seiple worked for the Berlin-based boat company, Bootsmanufaktur GmbH, to restore the Don Juan, an historic steel and wooden barge, which was widely seen in 2013 carrying the entourage of Queen Elizabeth on the Spree River (pictured below).

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لنصنع الأمواج - Making Waves Boat Making Workshop for Refugees

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Building a yacht for a more luxurious tomorrow. Making Waves is a project in Berlin that invites refugees to build a motor yacht. More than just a workshop, the project aims to confront cultural stereotypes and social conflict, and the challenges of assimilation through artistic, discursive and pers

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ruangrupa is the Artistic Direction of the fifteenth edition of documenta. The Jakarta-based artists' collective has built the foundation of their documenta fifteen on the core values and ideas of lumbung (Indonesian term for a communal rice barn). lumbung as an artistic and economic model is rooted in principles such as collectivity, communal resource sharing, and equal allocation, and is embodied in all parts of the collaboration and the exhibition.

lumbung members & artists

Towards documenta fifteen, ruangrupa invites community-oriented collectives, organizations, and institutions from around the world to practice lumbung with each other and work on new models of sustainability and collective practices of sharing.

This is a historical website. The imprint available here was valid on the date of the website's publication and is only kept in the original for archival purposes. Here you can get the imprint currently valid for this site and further information.

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documenta fifteen will take place from June 18 until September 25, 2022 in Kassel. The Jakarta-based artists' collective ruangrupa is the Artistic Direction.

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Verrillo - Fall 2021 - WRT 105 Unit 1 Task_ Who Am I Where_ Quien Soy Donde_

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Student Samples (Google Earth Links) - Fall 2020_2021

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How Racism Was Baked into US History Textbooks

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How Racism Was Baked into US History Textbooks

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How Racism Was Baked into U.S. History Textbooks

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In Teaching White Supremacy: America's Democratic Ordeal and the Forging of Our National Identity, out Sept. 27, Harvard University researcher Donald Yacovone analyzed 220 history textbooks from 1832 to the present day

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As high school teachers of history and government, we teach about reparations at multiple points across the curriculum. Students learn about the reparations imposed upon Germany by the Treaty of Versailles following World War I; students learn about the failure of the U.S. government to enact reparations - 40 acres and a mule - for newly emancipated people during Reconstruction; students learn about the 1988 Civil Liberties Act through which Congress paid 82,000 Japanese American survivors of the U.S. government's wartime incarceration program $20,000 each, totaling more than $1.6 billion. But when we have asked our students to grapple with the possibility of the United States paying reparations today - for slavery and its 20th- and 21st-century legacies of white supremacist violence, disenfranchisement, and exploitation - we find students struggle to unleash their critical imaginations.

Some students hold fast to the "slavery is long gone" line of thinking. Some students are frozen by the magnitude of the harm: How could any amount of money ever properly address the wickedness of slavery and racism? Other students worry about the practical questions: Who would be eligible to receive payment? What form would payment take? How long would a reparations program last and how much would it cost? These responses are understandable and important; yet, we noticed that students had trouble navigating through their initial positions to engage with a broader scope of possibilities. Students got stuck thinking of reparations only as a onetime compensatory payment intended to right the wrongs of history.

We developed this lesson to help students find a way into thinking and talking more imaginatively about reparations in general before we ask them to examine the modern debate over African American reparations specifically. (We have been piloting an African American reparations role play that will be completed and posted later this year.) We want students to consider how a legacy of injustice as deeply rooted and multidimensional as anti-Black racism in the United States requires a multifaceted strategy, not a single action.

In this mixer role play, students learn about more than a dozen different examples of reparations - ranging from cash payments to land settlements to state apologies - from a variety of historical moments and places. Students meet those who advocated for reparations, those who received them, and those who did not. They walk away from the activity with a greater understanding of the horizon of possible reparative policies and enough examples to begin to analyze and articulate their own beliefs about the appropriate context, goal, and form of reparations.
Materials Needed

Mixer roles, cut up, one for every student in the class.

Blank nametags, enough for every student in the class.

Copies of Reparations Mixer Questions for every student.

Time Required

1-2 90-minute block class periods.

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How to Make Amends: A Lesson on Reparations - Zinn Education Project

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As high school teachers of history and government, we teach about reparations at multiple points across the curriculum. Students learn about the reparations imposed upon Germany by the Treaty of Versailles following World War I; students learn about the failure of the U.S.

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If you've never heard of a zine, fret not, you're in the right place. I've made a bunch of zines and contributed to friends' zines and, chances are, you may have made one too even if you didn't know that's what they were called. Whether you're just starting out or are a seasoned creator, zines are a great way to publish your own art, poems, writing, musings, and anything else you want to express-without needing anyone else's permission to do so.

I hope this guide will empower and inspire you to share your ideas with the world in the form of a zine.

Ideating: Coming up with a great zine idea
A very brief history of the zine
Before there was stan twitter there was the fanzine, created originally by sci-fi enthusiasts of the early twentieth century who used the medium as a forum for dialogue, free from corporate editors or publishers. That same do-it-yourself ethos is what drew punks of the late twentieth century to embrace fanzines as a complement to their music, and as a means to challenge mainstream ideologies. In the '80s and '90s, zines became a centerpiece of movements like Queercore and Riot Grrrl. While the latter of these was critiqued for being primarily white and heteronormative, overall, these movements used zines to subvert dominant and patriarchal ideologies through the sharing of lived experiences. At the core of the zine-making ethos are subversion, freedom of thought, and a DIY attitude.

As is the nature of capitalism, corporations increasingly appropriated the practice as time went on; however, even today, zine-making remains a cornerstone for marginalized voices disseminating information and publishing creative work about things they love.
What are zines good for?
Zines tend to be a bricolage of various images, texts, and messages. Here is a list of just a few of the things you can do with the zine format:

Publish sketches, drawings, and mini-comics

Match recipes with whimsical illustrations

Mix words with images and textures

Print lines of poetry

Share a manifesto

...the list goes on

Basically, what you can include in a zine is only limited by your imagination.
What will your zine be about?
If you've never made a zine before, getting started may seem intimidating. But a journey of a thousand miles begins with a single step, and if you're interested in putting your voice out there by publishing your own zine, the first step you must take is deciding on a topic. There is no barrier to entry, so you can really do whatever you want. So, what makes a good zine for YOU to work on? Think about what topics you could you go on and on talking about for hours. Then, let your imagination run wild and see what exciting, novel, or curious ideas you come up with.

To help get your mind moving, here's a cool look at a radical Asian-American zine created by UCLA students in the '60s, and here's a whole archive of other zines. Additionally, ISSUU is a great hub for digital layout inspiration. I also recommend flipping through this issue of F WORD, which is an intersectional feminist zine collective based in Montreal.

As you start conceptualizing your zine, you might want to create a journal for the specific purpose of recording your ideas (for zines, or otherwise). And, if that goes well, maybe you'll want to start keeping a binder that can hold your journal in one of its pockets, as well as magazine clippings, pressed flowers, patterned papers, polaroids, and any other ephemera you might find inspiring.

If digital is more your route, maybe you'll want to organize your inspiration into something like a mood board on Are.na or Pinterest. These practices are a great way to organize your ideas and begin imagining what the stitching-together of your zine will be like.
[Pssst, The Creative Independent also publishes some pretty neat zines, including On making a living as an artist, On dealing with creative anxiety, and On finding your voice.] Working with collaborators
If the topic of your zine is something your friends are passionate about too, you might want to think about getting them involved. Making a zine can be a great collaborative project, since they can be pretty casual and fun; plus, having more people involved brings more creative voices and ideas, and can help you distribute it to a wider audience once it's done. Depending on what you're trying to make, it might make sense to co-create your zine with a friend or two, or perhaps you could put out a call for contributors on social media and open a line there. You can ask for people to submit poems, illustrations, essays, collages, etc.-and you may be surprised to see what people send you.
Licensing
If you do decide to work with other people, just make sure everyone is on the same page on their role as a contributor or collaborator. For example, how will contributors be credited? Will they be compensated? Who will own the rights to the work once it's published in the zine? Communicating openly about these questions before anything goes awry is always a good idea. For more tips on working with other people, see The Creative Independent's guide to joining forces with a creative collaborator.

Along these same lines, as you put your zine together, make sure you only use visuals (or any type of content) that you have the rights to. Google has a tool that makes it really easy to browse through open-licensed content ( learn more here), and the website Creative Commons can also help you find even more neat stuff that's free and clear for you to use.

Creative direction: Giving your zine its own signature feel

Once you have a topic or general plan for your zine, now it's time to clarify and design your little labor of love. How specific can you get in terms of what it will cover, what types of content it will include, and what it will look like? And, overall, what kind of impression do you want to give your reader as they take it all in? Having answers to these questions will help you come up with a creative direction (the way it looks, the way it feels, and what it includes) that can effectively communicate your ideas while also feeling intriguing and cohesive to your readers.

As an example, let's say you want to start a food zine. Maybe you want it to be about a specific cuisine that's a part of your family's history. But now, how will you convey what exactly it is you want to say about that food and its unique story? Think about the ways that different fonts, colors, formats, paper qualities, and visuals will change how your subject is viewed. Will your food zine be the size of a scrapbook, full of old family recipes and family photos? Or, will it be something small you can fit in your apron pocket, with a more minimalistic design? These stylistic choices, no matter how small they may seem, send messages to your reader-so think it all over and imagine a plan that feels exciting and right for your vision.
Designing your zine
Now comes the fun part: getting everything laid out and stylized. Things to think about here are:

What format will your zine take? Do you want it to be able to fit in someone's pocket, or are you looking to make something a bit more substantial? Will it be a folded piece of paper, will it be stapled together, or will you have it printed and bound somewhere? Depending on what you decide, you can download zine templates for software like InDesign and Microsoft Word. Or, if you don't want to go the digital route, you can always assemble your zine using paper and glue/tape, and then scan or photocopy the pages to print more.

How will it look? Spend some time thinking through an overall color palette, font choices, and other design elements that will help the zine strike a particular mood, and feel cohesive. (For more tips on graphic design, I recommend this fun primer).

How will it be edited together? Will it be broken into different sections, or will it all flow together organically? Will it have an introduction, a table of contents, or any other hallmarks of a more traditional publication? Once all your content is written, will you work with an editor to make sure there are no typos?

To give you a sense of how a zine's creative direction can affect the way it looks and feels, below is an example of a non-digital zine spread I made, published by my pals at Deskarga Groupo. It was made using only a single piece of paper ( learn how here). At the time I made it, I was in a funky emotional state, reconciling first-generation pressures to achieve, the desire to be loved and nurtured, struggles with body hair and polycystic ovary syndrome, and feelings of being scrutinized on social media. The emotional nature of the content led me to pursue a low-lift medium (one page seemed doable). And, it felt natural to leave it without color.
Here's another example of a zine spread, by my friend Leo of Deskarga Groupo.
Here's what he said about his zine's topic and format:

" Agua 'Rriba y Agua 'Bajo: When it Rains at the Beach is a collection of 20 photo-collages exploring the cultural landscape of The Dominican Republic accompanied by bilingual word-associative poems. My intention is to reconcile the nostalgia of my formative years living in the island as a child with my anxieties about identity as an adult living in the U.S. The Spanish portion of the title translates directly to 'water above and water below.' An apt metaphor for the suffocating feeling of isolation when stuck between two cultural forces."

Sharing your zine with the world
Printing your zines
If you want to create a bunch of physical copies of your zine, there are several routes you can take. While I've printed my own zines from workplace Xerox machines before, I don't recommend this, for the record (unless you get permission). Instead, you can go to a local printing service, or order copies of your zine from an online printer-both options can be good, so just do your research in advance and make a pros-and-cons list to help yourself decide between the options.

Printing in high volumes can bring the cost per unit down, and so can printing in black and white (versus color). Are you a student? Sometimes universities offer free or discounted rates for student print jobs.

If you don't have the budget to print copies of your zine, you can simply post your zine as a PDF online, and let people print their own copies. Or, you can explore on-demand printing, where people can order copies of your zine online without you needing to lift a finger. Blurb or Lulu could be good options if you decide to go this route.
Distributing your zine
Once you have some physical copies of your zine, now's time to distribute them (if that's what you want to do). Of course, if you have contributors, you'll want to give them a copy (or, better yet, give them a few copies so they can distribute some, too). Depending on how many you print and how widely you want them distributed, there are many routes you can go here. Will you mail them out to your friends, or to people who you'd like to be your friends? Or will you try to sell them in a retail store ( some tips on this here)? Maybe you want to bring them to a zine fair or festival? In the past, I've handed out copies of my zines to friends, but it's also fun to keep some in your bag with the intention of handing a few out to strangers. Zines are a great tool to use in joining or imagining new communities you want to be a part of.

When you distribute your zines, it can be cool to include some goodies-like stickers or a handwritten message-inside the pages of your zine. Here's an example of how this could work from my friends at Nickname Zine.
Promoting your zine
As you consider ways to spread the word about your zine, think about using the resources that are already available to you. Your social media pages and personal website could be a great place to start, especially if you plan to publish a digital version online. If your zine is a collaborative work, get your creative partners to promote it on their social media and websites too.

Getting involved in some of the different zine communities that already exist is another way to put yourself, and your zine, out there. Are there forums or Facebook groups you can join to promote your work ( here's a great start)? Just remember that the key word here is community-usually it's frowned upon to simply show up in a community with the sole aim of promoting your own work.

If you plan on creating multiple issues of your zine, it could be worth starting an Instagram or Twitter account where you can interact with your readers and other zinesters. For more tips on promoting your zine, read The Creative Independent's guide to thoughtful promotion.
Trading zines
Trading zines is a popular practice and easy to do if there's a zine or arts community in your area. If there isn't, meeting people and exchanging information online is just as popular. Maybe you want to barter your zine for a poster or some other creative good. A few months ago, I posted about my zine on Instagram Stories asking if anyone wanted me to send them a copy or trade with them, and sure enough, I received a few DMs.

In summary...

Get specific about your topic and be playful. Always be mindful of how you're sourcing your content, and give credit where it's due. There are free online tools that will make your zine-making process easier if you choose to go the digital route. Have fun, get outside of your comfort zone, make bold choices, and connect with other passionate people. There is no wrong or right way to make a zine, so have fun and don't worry too much about making it perfect. If you need a friend along the way, I'm only a tweet away.

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A guide to ideating, publishing, and distributing a DIY zine, written by Rona Akbari and illustrated by Somnath Bhatt.

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Unfolding Practice. Reflections on Learning and Teaching.

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In the twenty years since its original publication, The Ghosts of Berlin has become a classic, an unparalleled guide to understanding the presence of history in our built environment, especially in a space as historically contested-and emotionally fraught-as Berlin. Brian Ladd examines the ongoing conflicts radiating from the remarkable fusion of architecture, history, and national identity in Berlin. Returning to the city frequently, Ladd continues to survey the urban landscape, traversing its ruins, contemplating its buildings and memorials, and carefully deconstructing the public debates and political controversies emerging from its past.

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In the twenty years since its original publication, The Ghosts of Berlin has become a classic, an unparalleled guide to understanding the presence of history in our built environment, especially in a space as historically contested-and emotionally fraught-as Berlin. Brian Ladd examines the ongoing conflicts radiating from the remarkable fusion of architecture, history, and national identity in Berlin.

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Decolonizing White Berlin by Cornelia Knoll

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Decolonizing White Berlin by Cornelia Knoll

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Decolonising White Berlin - Cornelia Knoll (1)

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NYU Art + Education Community Practice BLOG

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The MA in Art Education and Community Practice is an interdisciplinary program that combines coursework in socially engaged art practice, critical pedagogy, and activism. Our focus is to prepare artists, educators, designers, community organizers, and other publicly situated activists to work within community-based settings, museums, NGOs, or broader public and civic contexts, towards initiating social change through the arts. This blog documents examples of student work in the program and collaborative projects created in collaboration with faculty and community partners.

For more information about the Community Practice program and other Art+Education degrees visit NYU STEINHARDT/ART & ART PROFESSIONS/ART + EDUCATION

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The MA in Art Education and Community Practice is an interdisciplinary program that combines coursework in socially engaged art practice, critical pedagogy, and activism. Our focus is to prepare artists, educators, designers, community organizers, and other publicly situated activists to work within community-based settings, museums, NGOs, or broader public and civic contexts, towards initiating social change through the arts.