# data[].attributes.body
1) Moi Tran - ‘Care Chains (Love Will Continue To Resonate)’ - Multimedia Installation - 2024

2) Shannon Alonzo - 'Washerwoman' - 2018 - Sculpture

3) Gulnur Mukazhanova - 'Iron Woman' 2010-2024 - Fine Art Print

4) Su Richardson - 'Bear it in mind' - 1976

5) Chila Kumari Singh Burman - 'Splatter' - poster paint on paper - 1979

# data[].attributes.attachment_caption
At the current rate the achievement of gender equality will take another 131 years - their take!

# data[].attributes.body
Hard Graft: Work, Health and Rights

# data[].attributes.attachment_link.readable_text
Explore the profound impact of physical work on health and the body at our new major exhibition.

'Hard Graft: Work, Health and Rights' delves into the stories of underrepresented workers and their rights within precarious and unsafe labour environments. From protests to healing practices, the exhibition unveils hidden histories of resistance and collective action.

Through a collection of over 150 items, including historical objects, contemporary artworks, films and new commissions, we invite you to witness the interconnectedness of working practices across the globe and the enduring fight for workers' rights.

# data[].attributes.attachment_link.description
Explore the profound impact of physical work on health and the enduring fight for workers' rights through our new major exhibition.

# data[].attributes.attachment_caption
Evelyn Twala’s from Intuthuko women’s collective. Her embroidery communicates fear and pain.

# data[].attributes.headline
Pixel Project Striking Campaigns for Women 2023

# data[].attributes.subject
Pixel Project Striking Campaigns for Women 2023

# data[].attributes.body
Striking Anti-VAW Campaign #8: Needlework as a Call to Action in Fighting against Violence Against Women – South Africa

# data[].attributes.body
https://greenhamwomeneverywhere.co.uk/textile-art-and-activism-connections-made-at-common-ground/

‘The plan was to take photographs of each individual piece and to get them enlarged into bus stop posters…I’m completely in awe of Brandalism’

ideas...

yarnbomb local bus stop bench?

display a sculpture made of domestic products outside your door?

# data[].attributes.headline
How to Use Artistic Activism to Change the World

# data[].attributes.subject
How to Use Artistic Activism to Change the World

# data[].attributes.body
In 2016, the crafting community came out strong. For example, pussy hats turned aerial views of protests into a sea of pink.

https://lifeattheintersection.com/2019/07/15/how-to-use-artistic-activism-to-change-the-world/?srsltid=AfmBOorq64z77zf6L_odMJToT0EGFVer6b_koZKPyZT7yWPbJ52UO9G5

# data[].attributes.body
1. ‘organise a small gathering of craftivists as a ‘flock’ to hold a stitch-in by a loved local landmark and invite the local press to cover it and

2. handcraft a life-size canary and a personal letter for their local politician’

https://thoughtfulcampaigner.org/category/tactics/

# data[].attributes.body
Photo I took in a street the East end in September

# data[].attributes.headline
The power of visual - Tower of London Poppies

# data[].attributes.subject
The power of visual - Tower of London Poppies

# data[].attributes.body
Runs the Mothers Artists Society

# data[].attributes.body
Your AcrossRCA project team will be asked to work together to identify a set of critical questions that relate to your theme and will form the basis of your research and project plans. At the end of the first term you will be expected to present a team ‘project proposal’ for peer feedback. And during the second term you will put your project proposal into action and produce an outcome. At the end of the unit you’ll be asked to present your outcomes as a team, and submit an individual statement where you reflect on your AcrossRCA experience. A key element of this will be thinking about how you and others have engaged with the collaborative process.

# data[].attributes.body
some ideas?

Is our research question 'How can everyday people best respond to gender injustice?'

1. Rationale: making victims connected and empowered to respond to the next gender justice crisis?

2. Aim: gender justice crisis response though gentle yet disruptive craftivism-protest art?

3. Process: collectively prepare to wrap emblems of power /abuse? Working through women's charities. Connection/strategy. Wrapping accessible, textiles are soft and domestic. Red is a good colour - sacrifice, feminine but passionate/strong/fighting

4. Outcomes: gaining visibility, changing minds, forcing change?

5. Ethics: is wrapping public property legal? 'Brandalism' is acceptable?

6. Plan

Research past gender justice activism efforts?

Liaise with women charities?

Prepare wrapping manifesto?

Design a concept example?

# data[].attributes.headline
RELAY (2021) - Venice Biennale of Architecture

# data[].attributes.subject
RELAY (2021) - Venice Biennale of Architecture

# data[].attributes.body
24-hohttps://adamkaasa.xyz/RELAYur performance piece, 16-17 July 2021

after listening to him talk on RCA Incusive Collaboration video I feel our craftivism response could include a 24h global relay? too ambitious?

# data[].attributes.attachment_link.description
Current Research Feeling Public On Getting Lost Emotional Biennials Fiction Feeling Frame RELAY Gentrification as Hate Linn Phyllis Seeger,…

# data[].attributes.body
The Circle - Annie Lennox

Safer Lives - Camilla (Queen)

Refuge

Rape Crisis

National Centre for Domestic Violence

women's aid

Women's Equality Party

Women's sport (football teams / england)

Power of Women

Taking Up Space (festival in folkestone)

Founders of women's safety apps

Hettie Judah (writes on artists and mothers)

Katie Hessel

Artist Activists

Links that tutors have / rca alumni

politicians - Jess Phillips, Caroline Lucas, Sandi Togsvik (WEP)

# data[].attributes.body
What countries/ communities are deemed 'progressive' for gender equality?

Iceland

consistently topped the Global Gender Gap Index, achieving remarkable progress in closing gender gaps across various sectors. As of 2024, Iceland has closed over 91% of its gender gap, leading in areas such as political empowerment and women's participation in the labor force.

Scandinavia

Other European nations like Norway, Finland, and Sweden also rank highly, benefiting from strong policies promoting gender equality and inclusive societal norms.

New Zealand

Outside Europe, New Zealand ranks prominently, closing about 83.5% of its gender gap. The country stands out for comprehensive health, educational access, and progressive labor rights.

Rwanda

Rwanda is also recognized for substantial gender parity in political representation, with one of the world's highest percentages of women in parliament.

The European Union (EU): The EU as a whole has implemented significant measures to advance gender equality and SRHR. The European Commission has appointed a Commissioner for Equality and adopted a Gender Equality Strategy (2020–2025) that includes combating gender-based violence and promoting bodily autonomy. The EU also passed a directive in 2024 to strengthen protections against violence and improve access to healthcare for survivors of sexual violence. Efforts to embed SRHR into humanitarian and foreign policies have also been made to ensure reproductive rights are upheld in crises, like during the ongoing support for Ukrainian refugees.

What is the current status of gender equity in the UK?

Look at government documents: https://www.gov.uk/government/publications/gender-equality-at-every-stage-a-roadmap-for-change

As of 2024, women now hold 40% of board positions across FTSE 100 companies and 36% in FTSE 250 firms. However, when it comes to executive roles, progress lags behind. Only about 34% of executive committee roles in FTSE 100 companies are occupied by women, highlighting a need for increased efforts to advance women into these top positions. Ambitious targets have been set to address this, aiming for 40% female representation in executive teams by 2027​ (Source:Big Time Sustainability) (Source, Gov UK)

still a lot of disparity to address

What is not working in the UK and why?

intersections of queer, gender identity, people of colour and class oppression

tackling gender-based violence

rising far-right misogyny

What global indicators show possible future issues with implications in the UK?

Trump being elected - bodily autonomy is at risk

queer rights

survivors of gender-based violence

general worrying narratives online around women's rights (far-right Andrew Tate rhetoric etc)

the social media 'trend' of 'Trad Wife' = a threat to women's rights

Why is the process of making something tangible important?

resilience

embodiment - when the body knows by Gabor Maté - processing of energy and collective trauma through making

could be like an expansion of the support circle support group format often found in recovery and/or solidarity programs

making visible the hidden

connections

power in community

connecting and repair through making process

# data[].attributes.body
United Nations

https://www.unwomen.org/en

# data[].attributes.attachment_link.readable_text
UN Women has been supporting Palestinian women since 1997 to achieve their social, economic, and political rights. We remain present on the ground to provide support and assistance and will do so for as long as it takes.

# data[].attributes.attachment_link.description
UN Women is the global champion for gender equality, working to develop and uphold standards and create an environment in which every woman and girl can exercise her human rights and live up to her full potential. We are trusted partners for advocates and decision-makers from all walks of life, and a leader in the effort to achieve gender equality.

# data[].attributes.headline
UK gov: How economic gender inequalities develop across the life course

# data[].attributes.subject
UK gov: How economic gender inequalities develop across the life course

# data[].attributes.body
Audre Lorde

power of opressions

the master's tool will never dismantle the master's house

the power of the erotic

bell hooks

all about love book

# data[].attributes.body
INSTALLATION:

Kamila

Nikki

Usoa

Doyeon

COMMUNITY OUTREACH:

Tabitha

El

Lukman

# data[].attributes.headline
Men need to fight for gender equality in the art world 

# data[].attributes.subject
Men need to fight for gender equality in the art world 

# data[].attributes.attachment_link.readable_text
Last week, I attended an expert meeting at Paleis Het Loo that focused on significant historical topics: "Vrouwenrechten in het publieke debat, 1870-1920" (Women's rights in public debate) and "De vrouw in het recht: Klem tussen principes en pragmatisme" (Women in law: Trapped between principles and pragmatism). While the presentations were thought-provoking, one particular aspect left a lasting impression on me-the gender imbalance in the room. Of the approximately 50 participants, only three were men, myself included.

This stark contrast made me question: Where were the men? And more broadly, why aren't more men actively participating in discussions about gender equality in the art world? The imbalance in the room did not align with the statistics of the museum world, where men hold many influential positions, particularly in leadership and supervisory roles. According to OCW, the Ministry of Education, Culture and Science in the Netherlands, the workforce in the cultural sector is 60% women and 40% men(2017), yet the conference had approximately 94% women and only 6% men (!). This discrepancy raises a key issue: Are conversations about gender equality in the art world still perceived as a "women's issue"? It seems that even though more women work in this sector, men are highly underrepresented in gender equity dialogues.

A missed opportunity for men

The absence of men in these discussions speaks volumes. Gender equality is not just about women achieving equal representation; it's about transforming the structures and systems that have historically marginalized certain voices. This change cannot be driven by women alone. For any real progress to occur, men need to be part of the conversation, contributing their perspectives and leveraging their positions of influence to promote a more inclusive future.

The reasons for this imbalance are complex. Many men may feel that gender equality initiatives are solely focused on women's advancement, not realizing that they too have a role to play in dismantling the systems of inequality. Others might believe that their presence is not necessary or that these discussions do not directly concern them. This couldn't be further from the truth. If gender equality is to be fully realized, it requires a collaborative effort from all genders, especially from those who have historically held more power.

Men need to recognize that a more equitable art world benefits everyone. Inclusion fosters creativity, innovation, and diverse perspectives-all of which are essential to the continued growth and vibrancy of the cultural sector. By stepping away from these conversations, men miss out on the chance to be part of this transformation. They also perpetuate the very systems of exclusion that gender equality movements aim to dismantle.

De Andere Helft (The Other Half) project

A great example of the work being done to correct these historical imbalances is De Andere Helft project. This platform is dedicated to uncovering the forgotten or overshadowed contributions of women in the Dutch art world between 1780 and 1980. It highlights roles often neglected in traditional art history, such as women as collectors, curators, and critics.

Collaborating with museums and research institutions including the UVA, Stedelijk Museum, Rijksmuseum and Boijmans Museum, De Andere Helft challenges the narrative of male-dominated art history and ensures a more inclusive, nuanced representation of the past. The project exemplifies the broader cultural shift towards recognizing the full spectrum of contributions made by women in the art world. However, even with this critical work, the question remains: why are so few men actively involved in these efforts?

This brings us back to the original concern: initiatives like De Andere Helft are crucial, but their success depends on broad participation. For the art world to truly reflect gender equity, men must not only support but actively engage in these projects. It's not enough for gender equality to be viewed as a women's issue-it's a societal issue, and one that affects the entire cultural landscape.

Men as allies in the fight for equality

So, how can we encourage men to take their place at the table? First, we need to shift the narrative. Gender equality benefits everyone, and men have a responsibility to contribute to this conversation. It's essential to emphasize that men are not just allies-they are stakeholders in the pursuit of an inclusive, equitable future.

Educational initiatives are one key way to bring men into the fold. By promoting awareness about the systemic barriers women face in the art world and offering concrete ways for men to get involved, we can start to dismantle the divide. Furthermore, organizations must make a concerted effort to invite men to gender equality discussions and ensure they feel welcome in these spaces. This isn't about excluding women-it's about broadening the conversation to include all perspectives.

The art world, with its emphasis on reflection and cultural change, is the perfect place to start. Museums and cultural institutions should take the lead in promoting gender equity by creating spaces where these conversations can happen. By fostering environments of inclusivity, we ensure that the fight for gender equality becomes everyone's fight.

Gender equality in the art and cultural world cannot be achieved if half the population remains absent from the discussion. The low male attendance at the expert meeting was not just a coincidence; it was a symptom of a broader issue-one that we must address if we are to make meaningful progress. Men must step up, engage, and take an active role in shaping the future of the art world.

Projects like De Andere Helft are paving the way, but they cannot succeed without the support of all genders. If we truly want to create a balanced, just, and inclusive cultural sector, men need to be part of the conversation. After all, a fair and equitable art world benefits us all.

# data[].attributes.attachment_link.title
Where are the men in the fight for gender equality in the art world?

# data[].attributes.attachment_link.description
Last week, I attended an expert meeting at Paleis Het Loo that focused on significant historical topics: "Vrouwenrechten in het publieke debat, 1870-1920" (Women's rights in public debate) and "De vrouw in het recht: Klem tussen principes en pragmatisme" (Women in law: Trapped between principles and

# data[].attributes.attachment_link.description
The Brooklyn Museum is an art museum located in the New York City borough of Brooklyn. At 560,000 square feet, the museum is New York City’s second largest in physical size and holds an art collection with roughly 1.5 million works.

# data[].attributes.attachment_link.readable_text
Women play an essential role in society but, travelling in conflict zones, JR realized that they are often the primary victims of war, crime, sexual assault and political or religious fanaticism. JR's intention in the Women Are Heroes project was to underline women's pivotal role in society and to highlight their dignity by photographing them in their daily lives and pasting their photographs in places that would make sense - in their villages, in cities nearby, or on the other side of the world. JR asked the women if they wanted to make a face.

Some preferred to pose silently in front of the camera, allowing everything they had been through to be read in their eyes. Others agreed and within seconds switched from a face of mourning to loud, uncontrollable laughter. Working in the Morro da Providência favela in Rio de Janeiro, Brazil, JR pasted huge photos of the faces and eyes of local women on buildings covering the favela's mountainside. In Kenya, he put the eyes and faces of women from the slums of Kibera on their rooftops, using water-resistant material that provided the additional benefit of protection from the rain. He also pasted eyes on a working train. In India, he pasted huge, seemingly blank white posters to the walls. The images were hidden in a sticky material that gathered dust and colour pigments during Holi festival of colours, revealing the portraits. In Cambodia, JR worked with women who faced eviction due to encroaching gentrification, and were fighting for their right to remain in their homes. In war-torn Sierra Leone, Liberia and Sudan, JR's pastings brought a haunting human presence to harsh environments of social conflict. At the end of each project, a book was made and distributed to the participants. In 2010, a film about the project was part of the Official Selection of the Cannes Film Festival. The participants often asked JR to make their stories travel - as a way of voicing what they had gone through and what they had resisted, and of telling the world that they existed. They knew that the visual language of pulling faces was something universal that would be understood in Europe or the United States as much as in their own village. Women Are Heroes ended in July 2014, when 2,600 strips of paper were pasted in 10 days on a container ship in Le Havre, France, with the help of dockers at the port. The ship then travelled across the globe to Malaysia.

See more

# data[].attributes.attachment_link.description
JR has the largest art gallery in the world. Thanks to his photographic collage technique, he exhibits his work on the walls of the whole world, attracting the attention of those who do not usually go to museums.

# data[].attributes.attachment_caption
I went across the street from Kensington after our last meeting and wrapped the rope around the entrance to the park, the gates of the park and a nearby phone booth. This intervention was interesting because people actually had too duck under the rope as I was tying it. The other two were good to do as well as it gave me an idea of how far the rope could go as its only a few meters at the moment. I think doorways would be good to focus on as they are a physical barrier to people coming in and out of places. 

# data[].attributes.attachment_caption
made with recycled fabric, red plastic from bags, an old umbrella etc.

# data[].attributes.headline
basic mock up of the kind of publication we could make and the information included.

# data[].attributes.subject
basic mock up of the kind of publication we could make and the information included.

# data[].attributes.attachment_link.readable_text
Importantly, while we organize around Black Liberation, we support efforts to liberate all marginalized groups and folks at the intersections. The Yarn Mission is organized on the values of intersectionality and is anti-oppressive at its core. We hold that it is essential to acknowledge that oppression creates hierarchies according to many identities. We also recognize that all individuals sit at the intersection of multiple identities.

These identities cannot be separated, although various elements may be more influential in certain situations. This means that we do not organize solely around race, just as we do not organize solely around class, gender or sexuality. Rather we consider and learn about the role that various identities play and strive for inclusivity and accessibility.

# data[].attributes.attachment_link.description
The Yarn Mission knits for Black Liberation

# data[].attributes.attachment_link.readable_text
Sarah P Corbett is an award-winning activist, Ashoka Fellow, author and founder of the global Craftivist Collective. Dedicated over a decade to the Craftivist Collective, honing her unique 'Gentle Protest' methodology, combining neuroscience, positive psychology, campaign strategy and beautiful handicrafts.

Born 1983 into an activist family in Everton (inner city Liverpool): fourth most deprived ward in the UK. Sarah was involved in local campaigns from the age of 3 squatting in social housing with her community (they won!) and seeing first hand our community battling against the effects of inequality. At secondary school Sarah created a successful campaign to gain lockers for her peers and implemented recycling bins before they became mandatory. Sarah learnt even more from her failed campaign to eradicate 'gym knickers' from her sports uniform. She went on to work for international development agencies including Christian and as Activism Manager at Oxfam GB.

In 2008, burned out from too much confrontation, slactivism and clicktivism, and doubting the effectiveness of many elements of conventional activist, Sarah starting looking for alternatives.

Sarah discovered the term 'craftivism' in 2008. A word coined in 2003 by Betsy Greer as a 'way of looking at life where voicing opinions through creativity makes your voice stronger, your compassion deeper and your quest for justice more infinite."

There are many ways people interpret and do craftivism. Sarah calls the Craftivist Collective approach 'Gentle Protest': She doesn't mean gentle as in passive or weak, but gentle as in compassionate and nuanced. It is slow, quiet, calm, focused, ego-less, hopeful and humble. A form of Soft Power, appealing to and attracting audiences to social change. Sometimes it's lovingly challenging ourselves to practice our values, not only proclaiming them for others to embody. Sometimes it is influencing members of the public to change their own behaviours of thoughts. At other times it's holding decision makers accountable for there actions or inactions by encouraging them to be part of the change our fragile world needs.

With no craftivism projects or groups for to join, Sarah was given permission from Greer to create her own craftivism projects. Soon Sarah had developed her own unique 'Gentle Protest' approach to craftivism, and had gained a following of friends and strangers around the world who wanted to get involved. And so, in 2009, the Craftivist Collective was born.

Sarah has worked with national and international charities, museums, galleries and unusual allies such as Secret Cinema for their Shawshank Redemption series of epic events. She was included in the Crafts Council 2018 'Power List'. She helped create the Girlguiding Craftivism badge (2018), had solo exhibitions in Stockholm (2015), Helsinki Design Week (2016) and part of group shows in Design Museum Denmark (2022-2024) amongst others. She received an Honorary Fellowship from Goldsmiths, University of London in 2022 for her 'contribution to design activism and public engagement'' and her TEDxTalk 'Activism Needs Introverts' was chosen as a TED Talk Of The Day on TED.com.

# data[].attributes.attachment_link.description
Sarah P Corbett is an award-winning activist, Ashoka Fellow, author and founder of the global Craftivist Collective. Dedicated over a decade to the Craftivist Collective, honing her unique 'Gentle Protest' methodology, combining neuroscience, positive psychology, campaign strategy and beautiful handicrafts. Born 1983 into an activist family in Everton (inner city Liverpool): fourth most deprived ward in the UK.