# data[].attributes.headline
Jeroen Jongeleen The Street As A Forum For Democracy [MODERN DEMOCRACY], 2019

# data[].attributes.subject
Jeroen Jongeleen The Street As A Forum For Democracy [MODERN DEMOCRACY], 2019

# data[].attributes.body
The work of Dutch artist Jeroen Jongeleen, otherwise known as Influenza, is characterized by a distinct stance of dissensus: one that opposes both the superficiality of urban design and the increasing colonization of the street. In a practice that engages with images and public space in a militantly active way, he employes numerous methods and materials - including stickers, plastic bags, spray paints and even the human body itself - in an effort to enliven the banality and sterility of the modern city.
Championing a more liberated public sphere and critiquing the over-regulation of both the city and art, Jongeleen's understated but always ingenious urban interventions are heavily influenced by art movements such as Fluxus (a multidisciplinary group of avant-garde artists in the 1960's), who he sees as the true descendants of the Dada spirit.
He describes his motivation to create art as not about 'decoration or making people happy, but about free speech and movement, about opposition as the essence of a truly democratic society'.
His politically motivated work therefor sets out to illustrate the power and the dynamics of the street, while offering a utopian vision for the future.

# data[].attributes.body
This final project “Interventions with Spaces”, is related with what I am doing and discovering for Public Engagement module, exploring the role of the artist in the shape of Society, showing a political side, with a critical thinking around societal issues and ready to open a conversation with their audience.

# data[].attributes.body
In this the solar etching I could relate this technique to the project for the fact that I could have different effects and outcomes with this process, with merging different images, colours or experiment different times of exposure.

# data[].attributes.body
Another experiment was with resin, using one of my panels to add a layer under my painting – building this sculptural box creating different layers of paint.

# data[].attributes.body
In this other panel I used powder filler, making abstract gestural marks before it dries and painted with blue acrylic colour.

# data[].attributes.body
Taking Jason Martin practice as inspiration, I did different experiments in with acrylic paint mixed with gel medium and opaque acrylic paste finished with some layers of crystal damar varnish to add gloss, giving this still wet looking to the paint suggesting a sea landscape or atmosphere.

# data[].attributes.body
I explored different subject matter and media approaches within painting and sculpture, reflecting on how I could still represent this fake-reality and how can the artistic object suggest this sense of illusion of existence and life through what the painting or the sculpture is made of.

# data[].attributes.body
In Screen-printing basing in Andy Warhol and Robert Rauschenberg practices with this process, I learned that is a great technique of repetition, to replicate and to transform Reality into an object of art, beyond of its image.

# data[].attributes.body
Living Cargo argues that the colonial archive is neither static nor residual but emergent. By reassembling historical fragments and traces consolidated in the archive, these artists not only perform a kind of counter-historiography, they also imagine future worlds that might offer amends for the atrocities of the past.

an aesthetic and political practice that animates and improvises on the institutional archive, repurposing it toward different ends and new possibilities.

# data[].attributes.body
In Steven Blevins (2016) Living Cargo - how black britain performs its past

This book is about unhousing the past; about opening up archives

and drawing history out;

-        and about the opening out that occurs when history goes public. and the transnational circuits of exchange economic, social, political, affective - that take British colonial history for a ride.

-        this book is about the ways in which

history is unhoused when narratives, performances, and exhibitions of the

colonial past, once consolidated in the archive, are constellated for public

culture.

# data[].attributes.body
I also tested through Photography, using moving image and video, with other scenarios the transmission of disturbance and Hyperreality, to inform hidden sensations in different settings and distinct suggestions of space.

# data[].attributes.body
Using the same images, I made a 1minute and 30 seconds video, experimenting different montages and effects, mixed with sounds and combined with a poem related to the theme.

# data[].attributes.body
My mediation started with the construction of a small maquette applying materials of different natures (organic, miniatures, plastic, paper or fabrics).
Finally taking photos of it in different angles and with different lights, arranging a narrative later through photography and video where I could evoke feelings related to loneliness, disturbance and abandonment.

# data[].attributes.body
Also having The Architectural Uncanny and The Poetics of Space as reference, I could understand through mediation in contemporary practices, artists build a new form of Reality, let the viewer see that they are being manipulated by technology, politics, wars and societal issues.

I learned that an image can depict a new sense of space and uncanny, communicating with the viewer new approaches to see Reality, transforming what can be seen as normal to us and add a new meaning to it.

# data[].attributes.headline
Stuart Halls ideas about representation, including hegemony, stereotypes and re-presentation

# data[].attributes.subject
Stuart Halls ideas about representation, including hegemony, stereotypes and re-presentation

# data[].attributes.body
- We live in a media-saturated world, where Reality is seen through them, albeit media is adulterated and not transparent.
- Formalization of Society
- Patriarchy
- Sense of Otherness and Alienation in Society
- Modified Reality
- Society of Stereotypes (Media Representation)
- Meanings created by Media to represent Society
- Identity, sexuality and gender are all represented in stereotypical ways to asserts dominance.
- Avoid the news to find different perspective and realities through Music, Art

# data[].attributes.body
Michael Focault's Heteropia theory to describe spaces with more layers of meaning than what is immediately apparent.

# data[].attributes.body
The shack doesnt follow an aesthectic and visually could be built in a different way or decorated to be more appealing and more conceptually  coercisive.
My question is not if a real shack should be built this way or if something is missing, but rather if the viewers can live in such a house or even make question themselves if such a house is even possible to live in.

In spite of being considered unfit to live, families always had everything they needed to live and they were still happy and comfortable with it.

A Shawty town is a place filled with hope, joy, food, music, and life. We can still find the same things in a shack as in other houses.

# data[].attributes.body
This video is projected on the wall in front of the window, as if it were on television, the video is played. So that the viewer can hear it from outside and see it as it goes around the corner of the house.

# data[].attributes.attachment_link.keywords[]
Boats and boating--Equipment and supplies

# data[].attributes.body
https://secondsight.barnabyfestival.org.uk/projects/inside-out-house/

https://hutters.uk/2015/07/11/hilary-jacks-insideouthouse/

nationaltrust.org.uk/packwood-house/features/find-the-follies-in-the-gardens-at-packwood-house

# data[].attributes.body
Hillary Jack's project is associated to what contemporary philosopher Bruno La Tour refers to as the ‘social lives of objects’, meaning that all objects have a ‘history’.

The objects may have become lost, survived some kind of trauma, but their presence and discovery tell us a story and reveal something about the way we live our lives.

# data[].attributes.body
For Inside Out House at Barnaby Festival, Hilary Jack repurposed discarded office furniture from the then-recently refurbished Macclesfield Town Hall to build a structure resembling a house.

In its location, directly outside the Town Hall, the structure also referenced the absurdities of town planning decisions.
The installation explored issues surrounding themes of sustainability, industry and the pioneering spirit of the homesteader.

# data[].attributes.body
Her practice focus on tactile representations of intimacy and connection between humanity and nature. A connection that borders upon sensibility and the sublime, especially in a World continuously rocked in chaos.
She shows this preoccupation from highly detailed photography morphed into surfaces of her own body and textures of other distinct surfaces.

# data[].attributes.body
Graham wondered whether through fissures or portals in the temporal and physical fabric of the built environment.
He accessed the collective force of a community that was obscured by the onslaught of HIV/AIDS, to reframe personal experiences as a way of destroy oppressive societal issues.

# data[].attributes.body
- Disparity of themes and approaches
- How these artists could faced their struggles and keep working during the pandemic
- Themes across mental health, a new reality, the human psyche and identity
- The influence of technology in the contemporary art

# data[].attributes.body
The exhibition showcased a survey of emerging art scene coming out of London's stellar art schools, with works selected, spanning moving image, assemblage, installation, performance, painting, sculpture, photography, and drawing. Curators have selected artworks focusing on themes including environmentalism, gender identity, post-pandemic reflections, UK racial politics as well as explorations of the human psyche.

# data[].attributes.attachment_caption
Video, projection, colour and sound, 52 min

# data[].attributes.headline
The Otolith Group, INFINITY minus Infinity, 2019

# data[].attributes.subject
The Otolith Group, INFINITY minus Infinity, 2019

# data[].attributes.body
The Otolith Group describe this film-essay as an attempt to render ‘the afterlife of slavery’. It was produced within the context of the ‘hostile environment’ – government policies designed to make staying in the UK as difficult as possible
for those without leave to remain – and the breaking of the Windrush scandal. The ‘hostile environment’ is used as a motif to look back on the economic and legal underpinnings of slavery as products of British imperialism and capitalism.

It brings together dance, performance, music, recital, and digital animation to compose a transhistorical zone in which the unpayable debts of racial capitalism cannot be separated from the ongoing crimes of climate catastrophe.

# data[].attributes.headline
Eddie Chambers, Destruction of the National Front, 1979-80

# data[].attributes.subject
Eddie Chambers, Destruction of the National Front, 1979-80

# data[].attributes.body
For this work Chambers, co-founder of the Blk Art Group, tore up an image of the Union Jack. In the 1970s the National Front had turned the flag into a symbol for white supremacy.
The artist reorganised the torn pieces into a swastika which is dismembered across four panels. The National Front were a far-right, fascist political movement that attacked and intimidated Black and Asian people in Britain.

# data[].attributes.attachment_caption
Photographs, gelatin silver print on paper

# data[].attributes.body
Ové’s early photographic work captures the Black Power movement in the context of the radical counter-culture of the late 1960s in London. During this time, writers, thinkers and activists from around the world arrived in the UK to discuss radical political ideas and form new movements.

In 1969 Ové released the film "Baldwin’s Nigger". It captures the writer and activist, James Baldwin addressing an audience at a Caribbean Artists Movement in London. Baldwin’s impassioned speech reflected on the Black experience in the US and the nature of racism. Audience members responded by sharing their own experiences of racism in Britain.

# data[].attributes.attachment_caption
Oil paint, acrylic paint, graphite, polyester resin, printed paper, glitter, map pins and elephant dung on canvas

# data[].attributes.body
No Woman No Cry is a tribute to the London teenager Stephen Lawrence who was murdered in a racially motivated attack in 1993. The woman depicted is Stephen's mother, Doreen, in each of her tears is a collaged image of Stephen Lawrence's face, while the words "R.I.P. Stephen Lawrence' are just visible beneath the layers of paint. The artist intended the painting to be read as a universal portrayal of melancholy and grief.

# data[].attributes.attachment_caption
Photographs, Gelatin silver print on paper

# data[].attributes.headline
Faisal Abdu'Allah, I Wanna Kill Sam Cause He Ain't My Motherfuckin' Uncle, 1993

# data[].attributes.subject
Faisal Abdu'Allah, I Wanna Kill Sam Cause He Ain't My Motherfuckin' Uncle, 1993

# data[].attributes.body
His work examines power, race, masculinity, violence and faith. The title of this series refers to rapper Ice Cube's 1991 song I Wanna Kill Sam. Here, Abdu'Allah works with members of British rap group Scientists of Sound. Together, they challenge stereotypes and assumptions about Black male violence, reclaiming the images for themselves.

# data[].attributes.body
Achiampong's work examines his communal and personal heritage. The family portraits are intimate, representing an index of Black survival in a hostile 1980s Britain.
The images are interrupted by racists symbols associated with Blackface performance, golliwog dolls and the pickaninny caricature.
This interruption rewinds the viewer of the history of the British Empire, colonialism and domestic forms of racism.

# data[].attributes.body
Metal and wood - used in the construction of houses

Paper - Sketchs (how ideas are built/planned that aren't yet firmly solidified)

# data[].attributes.body
In the end, it was a way to push myself to try something different, to see what I could do that was artistically appealing or not.

It was a challenge to me to build something from scratch and coming into pieces, stepping outside of my comfort zone while building something that reminds me nostalgically of my childhood and the past.

This was my way of exploring a concept further and creating something physically that could transport the viewers into the concept.

# data[].attributes.body
As an artist, I wanted to make a shack from scratch to strengthen the connection between my creation and the concept.
Making a connection with the people who built their own houses at that time, and creating a sense that it could be lived in.

# data[].attributes.body
The purpose of this project was to express my own perspective on living in a Shawty town, which are often populated by ethnic or other minority groups due to social pressures or economic hardships.
It is important to reflect on how societies are organized and how poor people are segregated in suburban areas, and how the structuring of a city keeps classes from mixing.
Wondering why this is so.
As well as giving notice to the fact that there are still many other neighborhoods around the world, as well as people in extreme poverty and without something to live on.

# data[].attributes.body
I assembled memories from the Shawty town into a shack, which is shaped like a house as well as constituting multiple narratives.

- The shack was built on a wooden pallet so it could be easily transported. Feeling as if immigrants from Africa left their country for a better life, but never forgetting where they came from.

-In Shawty town, there were more houses and families, as indicated by the number 24 on the house. Despite being a poor neighborhood, there was order and structure like the rest of the city.

In the outside of the house are paintings that tell a story of what happened to Shawty town, as though it is a metaphor for a reality that could not be changed. Knowing that things have changed.
The interior of the house is a reconstruction of a house that belonged to that place, where the objects represent a time and space when I was happy there. Film complements the idea of reconstruction.

# data[].attributes.body
https://drive.google.com/file/d/1SDvs_9KtcDp36aKFn4NPO4ho7df5G7pU/view?usp=sharing

# data[].attributes.body
The video completes the concept that was begun with paintings and drawings, in addition to the reconstruction of the interior of a shack that represents my past.
This is a very personal subject and if I don't give enough information about it, people won't understand, but there are many people who shared the same experience as me.

The video is a 14 minute montage of videos, documentaries, and found videos. It is projected inside the house, finishing the concept, which shows various aspects of the slum life, mixed with videos of my childhood and revealing Cape Verdean cultural traditions.

The editing uses an aesthetic that seems to suggest the videos were recorded on VHS recordings and stacked one on top of the other to form various sequences such as video clips and interviews, which are then blurred and glitched through the use of apps such as Photomosh and Videoleap.

# data[].attributes.body
Drawings installation

# data[].attributes.body
By experimenting with different types of paper, I wanted to explore which one could work best with the idea of memory and the degradation of paper over time.
In these drawings, different external views of Shawty town's domestic life are depicted, as well as how the residents treated each other and the sense of community.

The drawings take on a smaller and more intimate format than the previous paintings, capturing different scenarios and actions using different materials, although the drawings maintain an unfinished and sketchy appearance.

# data[].attributes.body
Oil on Metal

# data[].attributes.body
Pen and Graphite on Cardboard (Final)

# data[].attributes.body
-  This oil painting on metal still result from experiments with different surfaces in order to desmonstrate a connection to a Shawty town and the materials used to build a shack.
- The figure and background are blended differently to convey different feelings
- Representation of movement to another space (uncertainty and doubt)

# data[].attributes.body
Acrylic on Canvas Paper (Final)

# data[].attributes.body
Although the project was envisioned as only being between paintings and drawings, my evaluation and peer-reviews showed that certain elements were missing to complete the concept.

Later with the installation, a narrative about the Shawty town is formed with the paintings and the drawing in cardboard.
Each one, occupy a different space for their different characteristics and narrative.

# data[].attributes.body
"My aim is to create paintings that present a world slightly off-kilter, suddenly menacing and uncertain, in surreal scenes that express our fragile attempt at order in the face of entropy and collapse”

# data[].attributes.body
With my research on painters that explore the themes of memory and history,

I tried to choose a limited colour palette to convey a sense of nostalgia and passage of time at the same time.
I tried to show different states through relating content to subject (permanence, transition, uncertainty).

Resulting in a construction of a Narrative that tells something to the viewer about the real space.

# data[].attributes.body
In consideration that the surface and materials used for painting can have direct influence on the building or organization of the Shawty town, different materials were chosen based on the relationship between the state/colour and the actual place.

Using materials that were easy to manipulate or paint, such as metal or cardboard, I propose to represent a presence of life or a dosmetic life in Shawty Town.
The notion of Solidity is also associated with different degrees of stability of the support on which the content is based, which creates this parallel between art and reality.

# data[].attributes.body
Brush with the Real, Materiality and Interventions with the Space

# data[].attributes.body
The renowned cultural studies of the theorist Stuart Hall saw identity as being full of endless possibilities.
Stuart Hall has made a significant contribution to critical theory, cultural studies, media studies, race studies, and postcolonial studies.  Keeping in line with Gramsci's "organic intellect," his epistemological stance was embedded within political and social commitments.

# data[].attributes.body
The study of “phenomena”: appearances of things, or things as they appear in our experience, or the ways we experience things, thus the meanings things have in our experience.
Phenomenology studies conscious experience as experienced from the subjective or first person point of view.

Freud's Psychoanalysis, more than any other form of psychology perceives that art is deeply rooted in the unconscious depth of the artist. What a man has experienced earlier, becomes not only the content of his dreams, but of his creative work as well.
Psychoanalytic observation does not explain why one is gifted with art and not the other; but its business is to explain, why an individual turns to art and literature. Childhood experiences, fantasies and day dreams instead of being expressed in an un-channelized manner are expressed through art and literature. This is known as sublimation.

# data[].attributes.headline
"Power is everywhere; not because it embraces everything, but because it comes from everywhere"

# data[].attributes.subject
"Power is everywhere; not because it embraces everything, but because it comes from everywhere"

# data[].attributes.body
Foucault argued that knowledge and power are intimately bound up. So much so, that that he coined the term “power/knowledge” to point out that one is not separate from the other.

Every exercise of power depends on a scaffold of knowledge that supports it. And claims to knowledge advance the interests and power of certain groups while marginalising others. In practice, this often legitimises the mistreatment of these others in the name of correcting and helping them.

# data[].attributes.body
Michel Foucault contends that the most human part of man is his history. (History of Sexuality)

Throughout history, there has been an 'endlessly repeated show of dominance', where the events of history have arisen as the result of the overlapping of multiple, competing forces. It is based on the premise that power is more radically dispersed than conventional thinking admits. The theories of Michel Foucault also focus on the connections between power and knowledge and how that power is used as a form of social control in societal institutions.

# data[].attributes.attachment_caption
45:00 Video, high definition, 3 projections, colour and sound (surround)

# data[].attributes.body
- Montage of videos that come together to have a meaning
- Use of archive seen as fragments of History that form a narrative.
- A variety of different footage is shown at the same time, examining the fractured nature of memory.
- He uses montage to deferred meaning, with different images and sources, two opposites collide forming an argument (dialectic philosophy)
-  Exposes the experience of migrants in the UK, questioning the notion of citizenship and realities of economic hardship and casual racism.
- By juxtaposing conflicting images, the artist seeks to awaken the public's political consciousness by exposing a truth alienated from reality.

# data[].attributes.body
"(...) themes that are related are themes of resistance, of survival, of "re-historicizing" or looking critically back at history, looking at the present situation and articulating speculations of what might be coming in the future."

# data[].attributes.body
https://onlinelibrary.wiley.com/doi/10.1002/9781118957882.ch6

https://plato.stanford.edu/entries/hegel-dialectics/

https://ndpr.nd.edu/reviews/foucault-s-philosophy-of-art-a-genealogy-of-modernity/

https://www.psychologydiscussion.net/theory/psychoanalytic-theory-of-art-and-literature-explained/493

https://www.goodreads.com/book/show/444809.Poetics_of_Relation

Foucault, M. (1976) The History of Sexuality. Vol. 1, The Will to Knowledge, trans. R. Hurley. London: Penguin, 1998.

- Hall, S. (1980) Race, Articulation and Societies Structured in Dominance in Sociological Theories: Race and Colonialism.

- Hall, S. (1986) Gramsci's Relevance to the Study of Race and Ethnicity. Journal of Communication Inquiry.

- Hall, S. (2005) The Deluge – and After in: Bailey, D., Boyce, S. and Baucom, I. eds. Shades of Black: Assembling the 1980s' Britain, pp.1-20. New York: Duke University Press.

https://www.writingcities.com/2017/05/14/gaston-bachelard-phenomenology-and-the-poetic-image/

https://theconversation.com/explainer-the-ideas-of-foucault-99758

# data[].attributes.body
Dialectical philosophy derives from ancient Greek philosophers such as Plato and Socrates, who used dialectical arguments to resolve divergent viewpoints -
“Dialectics” is a term used to describe a method of philosophical argument that involves a conflict between opposing sides.

# data[].attributes.headline
John Akomfrah, Unfinished Conversation, 2012

# data[].attributes.subject
John Akomfrah, Unfinished Conversation, 2012

# data[].attributes.body
Artist and filmmaker John Akomfrah's work is characterized by its explorations of memory, postcolonialism, temporality, and aesthetics, and often reflects the lives of migrant diasporas around the world.

The Unfinished Conversation explores the memories and archives of Stuart Hall (1932 - 2014), a Jamaican-born cultural theorist and sociologist. The film shows Hall's personal, ethnic, and political routes to his identity. The film combines news footage from the 1960s with Hall's own videos and photos.

The interplay of image and sound over multiple screens mimics the collision of history, culture, and politics that shaped Hall's identity.

The non-linear narrative unfolds across three screens, weaving ideas of cultural identity through the use of jazz and gospel music in a poetic soundscape.

In addition to the Soviet invasion of Hungary, the Vietnam War, and the British uprising, Akomfrah addresses larger international political changes.

In The Unfinished Conversation identity is presented as a meeting of the outside and the inside, where individual perspectives are formed in both real and fictive spaces.

# data[].attributes.body
" It is also a remembrance that the collective multitude defining Blackness is composed of singular individuals, manifold identities, and their unaccountable differences. "