07/10/2019

The climate protest movement and... the rest of the world


As the climate rebellion is about to be relaunched with vigour in London this Monday, 7 October 2019, by Extinction Rebellion...


Extinction Rebellion in London's Oxford Circus in April 2019. Photo by myself


...Here is an interesting point of view.

"The climate protest movement must not alienate Britain’s working classes"
-By Linda Nandy, Labour MP for Wigan

https://www.theguardian.com/commentisfree/2019/oct/02/climate-protest-alienate-britains-working-classes-extinction-rebellion?CMP=share_btn_tw

"Rooting calls for action in the reality of people’s lives is vital if the likes of Extinction Rebellion are not to fuel further division," MP Linda Nandy claims.

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But environment activists keep forgetting the most important issue of all:
the imbalance & inequalities between the NORTH and the SOUTH of the world...

It's very true that the poorest cannot abandon their wages and worries to spend their days protesting to stop multi-billionaire companies from polluting the planet.

But then think of what it is for a person living with a few dollars a month in a "developing country", as the economists now name what they used to qualify as "the third world", when there was still "two worlds" until 1991, the USA and the Soviet Union. Now this denomination is irrelevant, and some of these countries have become economic powerhouses, like China, India, Mexico, Brazil. But poverty is still incredibly stiff for most of their population.

So, no, nothing can change, and certainly not our system of production and its pollution, if we don't prevent the 7th in the G7 from exploiting the rest of the world for oil/other energies, gold/other metals.

It's been going on since the first years of capitalism.

Yet, it's hardly spoken about these days in the newspapers covering the protests!

The level of inequalities between the richest countries - industrialised, polluting economies - and the rest of the world, the vast majority, is so vast, so deep, that it's almost irrelevant to talk about the gap between the rich and the poor in the UK or in the US in comparison.

I tried to discuss this in Marble Arch on 21 April, when Greta Thunberg joined the XR protesters in London, with the other members of the rebellion, during our attempt at a group discussion and proto-citizens' assembly. People generally agreed that the poorest countries pay the price more than anybody else.

Yet... the "rebellion" is still led by people in the Western, richest countries, and the teenage superstar is still a adolescent from Sweden... Despite the fact that many activists come from the First Nations in North America, Kenya or for instance Brazil.

It is a bit puzzling.

As readers of this blog may know, I've lived in places in East and Central Africa, travelled to 14 African countries as a reporter, north and south of the Sahara, as well as places like Czech Republic, Bosnia, Haiti, India, Turkey, Armenia/Georgia, Mexico and Iraq.

We need to be willing to see global issues from another point of view that is not born in London or New-York-f***g-City.

I've been writing drafts for an essay about these issues this summer, on the point of view of journalism, but publishers and agents already told me they cannot publish this text because it wouldn't sell and is incoherent. Too many ideas...
It might not be perfect for now, but frankly, I've seen many other writers try and get rejected as well, especially African intellectuals, economists, researchers.

For how long? People, rebels, friends, for how much longer?

Because if you really want to keep on trying to change the world, at some point you might have to realise that you will have to include the ACTUAL WORLD.

And so just do the maths: world population at this stage of history is around 7.7 billion people.
How many in the UK? 67,5 million people.
In the US of A? 330 million.
The rest of the EU? 450 million.
That leaves us with... Exactly: almost 7 billion people!!

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One good place to start the discussion would be among the African and Asian diaspora in the Western world... We're here and "unlistened-to" and most of the time part of the "unlistened-to" working class anyway.

But we could also be part of a bridging strategy between you here middle/upper class people in the UK, worried about climate change and global warming, and the people who are actually affected by it. In Malaysia, Indonesia, Bangladesh, Brazil, in the Sahara desert, in Mauritania, Mali, Niger, Kenya, Uganda, etc.

Otherwise, you're going to see more of these articles:

Does Extinction Rebellion have a race problem?

Critics say group is not doing enough to involve people of colour, or expose links between climate crisis and inequality


And most of all, like this letter:

An open letter to Extinction Rebellion

"The fight for climate justice is the fight of our lives, and we need to do it right." By grassroots collective Wretched of The Earth.


Extract:

"For those of us who are indigenous, working class, black, brown, queer, trans or disabled, the experience of structural violence became part of our birthright. Greta Thunberg calls world leaders to act by reminding them that 'Our house is on fire'. For many of us, the house has been on fire for a long time: whenever the tide of ecological violence rises, our communities, especially in the Global South are always first hit. We are the first to face poor air quality, hunger, public health crises, drought, floods and displacement."

"XR says that 'The science is clear: It is understood we are facing an unprecedented global emergency. We are in a life or death situation of our own making. We must act now.'  You may not realize that when you focus on the science you often look past the fire and us – you look past our histories of struggle, dignity, victory and resilience. And you look past the vast intergenerational knowledge of unity with nature that our peoples have. Indigenous communities remind us that we are not separate from nature, and that protecting the environment is also protecting ourselves. In order to survive, communities in the Global South continue to lead the visioning and building of new worlds free of the violence of capitalism. We must both centre those experiences and recognise those knowledges here."


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This are absolutely vital arguments.
There cannot be any system change implemented by 1% protesting among the 1% who are the richest in the world!!

Or it's a misunderstanding of what "system change" means.

Because what is wrong with this polluting, destructive system is mainly that it has left the vast majorities of living people out of the global discussions about how our global resources should be used.

So if you keep on making these decisions in between you inside the upper/middle class in the capitals of the stock-exchange world, you are still part of the system.

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Many thanks for listening to this written rambling.

And have a good first day of this new phase of rebellion.

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NB. I fully support the Extinction Rebellion, have protested myself, and have offered to work as a volunteer. But these are key issues.

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Here are the rest of the world's demands:

Wretched of the Earth, together with many other groups, hold the following demands as crucial for a climate justice rebellion:
  • Implement a transition, with justice at its core, to reduce UK carbon emissions to zero by 2030 as part of its fair share to keep warming below 1.5°C; this includes halting all fracking projects, free transport solutions and decent housing, regulating and democratising corporations, and restoring ecosystems.
  • Pass a Global Green New Deal to ensure finance and technology for the Global South through international cooperation. Climate justice must include reparations and redistribution; a greener economy in Britain will achieve very little if the government continues to hinder vulnerable countries from doing the same through crippling debt, unfair trade deals, and the export of its own deathly extractive industries. This Green New Deal would also include an end to the arms trade. Wars have been created to serve the interests of corporations – the largest arms deals have delivered oil; whilst the world’s largest militaries are the biggest users of petrol.
  • Hold transnational corporations accountable by creating a system that regulates them and stops them from practicing global destruction. This would include getting rid of many existing trade and investment agreements that enshrine the will of these transnational corporations.
  • Take the planet off the stock market by restructuring the financial sector to make it transparent, democratised, and sustainable while discentivising investment in extractive industries and subsidising renewable energy programmes, ecological justice and regeneration programmes.
  • End the hostile environment of walls and fences, detention centers and prisons that are used against racialised, migrant, and refugee communities. Instead, the UK should acknowledge it’s historic and current responsibilities for driving the displacement of peoples and communities and honour its obligation to them.
  • Guarantee flourishing communities both in the global north and the global south in which everyone has the right to free education, an adequate income whether in or out of work, universal healthcare including support for mental wellbeing, affordable transportation, affordable healthy food, dignified employment and housing, meaningful political participation, a transformative justice system, gender and sexuality freedoms, and, for disabled and older people, to live independently in the community.


06/10/2019

'Still I Rise': Feminisms, Gender and Resistance, exhibition's 3rd Act at the Arnolfini


The Arnolfini gallery is one of Bristol's major art centre and after a quiet year without any exhibition, it has reopened its rooms for a major event: the third act of 'Still I Rise', ambitious project that toured the UK in a way, after exposure in Nottingham and Bexhill On Sea, East Sussex.



Subtitled 'Feminisms, Gender, Resistance', 'Still I Rise' is an ambitious project, and this is where I'll spend most of my time in the coming months, more on this soon...


STILL I RISE: FEMINISMS, GENDER, RESISTANCE - ACT 3

Saturday 14 September 2019 to Sunday 15 December 2019, 11:00 to 18:00 
Open Tuesday - Sunday, closed on Mondays. Free

A virtual visit in pictures:












Pioneering feminist art in the USA, Judy Chicago's photographic work is at the core of 'Still I Rise' and graces the main posters.




Women's bodies, fire earth, energy, her photographs are fulled with explosive tension and release.





A few of my favourite photos are these of Himalayan women, protesting to protect their environment by pacifically hugging trees, taken by artist Pamela Singh:






American female black liberation movements are also represented, and a poem by Maya Angelou gave its name to the exhibition, 'Still I Rise', quoted on this blog in a previous post as well:




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Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I'll rise.

Maya Angelou, Still I Rise



"When “Still I rise” is said in unison, a future without patriarchal hierarchies starts to appear...a future that still requires artistic imaginings for us to see it - ★★★★★


The gallery wrote:
Still I Rise: Feminisms, Gender, Resistance - Act 3 is a timely exhibition focusing on the his/herstory of resistance movements and alternative forms of living from a gendered perspective. This major group exhibition looks at resistance across different times, places and scales: from the domestic sphere to large-scale uprisings. Establishing intersectional thinking as its driving method and incorporating feminist and queer thought and action, Still I Rise spans the late 19th century to the present and beyond.
With over 100 exhibits by some 70 practitioners, Still I Rise presents the way in which resistance has been approached by visual artists, writers, architects, designers, activists, working as individuals or in groups. It takes place within a global context, referring to both key historic moments and recent women-led uprisings and demonstrations, including mass protests in Argentina confronting violence against women: ‘Ni Una Menos’, and the global Women’s Strike initiated in the US.
At Arnolfini, Still I Rise responds to local conversations about Bristol's legacy in the Transatlantic Slave Trade by focusing on black feminist artwork and activism. It also looks at the histories of feminist movements out of Bristol, by featuring a range of material from Feminist Archive South. Initiated in 1978 and based in Bristol, FAS is said to be the UK's first archive of feminist writing, publications, and donated material.
At the core of Still I Rise is the idea of collaboration, community building and egalitarianism. Throughout the exhibition, Arnolfini also hosts  a programme of performances, screenings, workshops and conversations, creating a site for participation and a platform for multiple voices.

Exhibiting artists and collectives include:
Amina Ahmed, Jane Addams / Hull House, Barby Asante, Alice Constance Austin, Xenobia Bailey, Glenn Belverio (Glennda Orgasm), Shirley Bruno, Micha Cárdenas, CARYATIDS (Chicks in Architecture Refuse to Yield to Atavistic Thinking in Design and Society) (Carol Crandall, Kay Janis and Sally Levine), Carolina Caycedo, Judy Chicago, Phyllis Christopher, Jackie Collins and Pat Garrett, Jamie Crewe, Blondell Cummings, Gille de Vlieg, Dyke Action Machine!, Gran Fury, Feminist Land Art Retreat, Guo Fengyi, fierce pussy, Jeneen Frei Njootli, Eduardo Gil, Anna Halprin, Rachael House, Hayv Kahraman, Corita Kent, Donna Kukama, Suzanne Lacy with Corey Madden, Zoe Leonard, Mary Lowndes, Kristin Luke and Minna Haukka, Vali Mahlouji / Archaeology of the Final Decade, with works by Kaveh Golestan, Alex Martinis Roe, Barbara McCullough, Ana Mendieta, Ad Minoliti, Ni Una Menos, Josèfa Njtam, Okwui Okpokwasili, Albert Potrony, Brenda Prince, Queer Yale Archive / YAMP (Yale AIDS Memorial Project), Raju Rage, Tabita Rezaire, Monica Ross, Lala Rukh, Zorka Ságlová, Victoria Santa Cruz, See Red Women's Workshop, Judy Seidman (Medu Art Ensemble), Tai Shani, Pamela Singh, Monica Sjöö, Terence Smith (Joan Jett Blakk), Linda Stupart, Ramaya Tegegne, Jala Wahid, Faith Wilding, Women Against Pit Closures, Zadie Xa, Osías Yanov.

Screening programme including works by:
Bryony Gillard, Lis Rhodes, Victoria Sin & Sophia Al-Maria, Tanya Syed, Tourmaline. 

Archival research and curation by:
Amy Budd, Albert Potrony, D-M Withers. 

The exhibition is a collaboration between Nottingham Contemporary, De La Warr Pavilion in Bexhill-on-Sea, and Arnolfini in Bristol; and is curated by Irene Aristizábal (Head of Curatorial and Public Practice, BALTIC), Rosie Cooper (Head of Exhibitions, De La Warr Pavilion), and Cédric Fauq (Curator, Nottingham Contemporary), with Kieran Swann (Head of Programme, Arnolfini) for Act 3.


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A few more images:












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Power up indeed!

It's not over... It's never over.


02/10/2019

TROPHIES OF EMPIRE - TRACES AND LEGACIES: talk at the Arnolfini



I'll be there @ArnolfiniArts on Saturday for this talk, who's in?

TALKS | TROPHIES OF EMPIRE - TRACES AND LEGACIES Saturday 05 October 2019, 14:00 to 18:00
About the landmark 1992–93 exhibition ‘Trophies of Empire’, Split across sites in Liverpool, Bristol & Hull



TALKS | TROPHIES OF EMPIRE - TRACES AND LEGACIES 

Saturday 05 October 2019, 14:00 to 18:00
£8/6 + BF  Book




Looking back at this influential exhibition in which contemporary artists explored Britain’s colonial past. 

Split across sites in Liverpool, Bristol and Hull, the landmark 1992–93 exhibition ‘Trophies of Empire’ was initiated by artist Keith Piper and Bluecoat Gallery in Liverpool, co-organised with Arnolfini and Hull Time Based Arts. For it, artists were invited to respond to the histories of British imperial power and the transatlantic slave trade, and their imprint on the present, particularly in relation to the three host port cities. 
Gathering together new artistic commissions and live art performances, each element of ‘Trophies of Empire’ was designed to interrogate and challenge the life and legacy of British colonialism. The exhibition was set against the backdrop of two significant geopolitical events in 1992: the quincentenary of Columbus’ colonial ‘discovery’ of the Americas, and consolidation of ‘Fortress Europe’ with the founding of the European Union by the Maastricht Treaty.
With the participation of Keith Piper and Bryan Biggs (Bluecoat), this event brings together artists, academics and people involved in ‘Trophies of Empire’ to look in detail at this far-reaching exhibition. The afternoon will begin with an in-conversation between Piper, Biggs and Louis Hartnoll (Afterall), followed by a roundtable led by Dr Anjalie Dalal-Clayton (Research Fellow at the Decolonising Art Institute, University of the Arts London)
In between the two public discussions, attendees will have the chance to look through a range of materials related to the exhibition held in the Arnolfini Archive.
This event is organised in collaboration with Afterall as part of their Exhibition Histories research and publication project. For more details about this project, please visit Afterall

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More about the Arnolfini's programme here:



On feminism and resistance


Hello there,

I'm doing research on feminism in art, feminism and art, and about resistance. 
Timely? You can't imagine how much :)

This will become part of a writing residency I'm involved in. More on this very soon!! 

Feel free to send new, revolutionary artists, exhibitions and shows my way.

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In the meantime, you can listen (again) to Chimamanda:


'We should all be feminists' | Chimamanda Ngozi Adichie | TEDxEuston




Chimamanda Ngozi Adichie a renowned Nigerian novelist was born in Nigeria in 1977. She grew up in the university town of Nsukka, Enugu State where she attended primary and secondary schools, and briefly studied Medicine and Pharmacy. 

She then moved to the United States to attend college, graduating summa cum laude from Eastern Connecticut State University with a major in Communication and a minor in Political Science. She holds a Masters degree in Creative Writing from Johns Hopkins and a Masters degree in African Studies from Yale University. 

She was a 2005-2006 Hodder Fellow at Princeton, where she taught introductory fiction. Chimamanda is the author of Half of a Yellow Sun, which won the 2007 Orange Prize For Fiction; and Purple Hibiscus, which won the 2005 Best First Book Commonwealth Writers' Prize and the 2004 Debut Fiction Hurston/Wright Legacy Award. 

In 2009, her collection of short stories, The Thing around Your Neck was published. She was named one of the twenty most important fiction writers today under 40 years old by The New Yorker and was recently the guest speaker at the 2012 annual commonwealth lecture. 

She featured in the April 2012 edition of Time Magazine, celebrated as one of the 100 Most Influential People in the World. She currently divides her time between the United States and Nigeria. Intro and Outro music by Kadialy Kouyate performed at TEDxEuston 2011. 

You can view the full performance here: http://youtu.be/KUfD5WGL3hw




"But still, like dust, I'll rise" - by Maya Angelou



This poem is the inspiration for the Arnolfini's new exhibition in Bristol City Centre.

It is relevant to share it here. 


Still I Rise

You may write me down in history
With your bitter, twisted lies,
You may trod me in the very dirt
But still, like dust, I'll rise.

Does my sassiness upset you?
Why are you beset with gloom?
’Cause I walk like I've got oil wells
Pumping in my living room.

Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I'll rise.

Did you want to see me broken?
Bowed head and lowered eyes?
Shoulders falling down like teardrops,
Weakened by my soulful cries?

Does my haughtiness offend you?
Don't you take it awful hard
’Cause I laugh like I've got gold mines
Diggin’ in my own backyard.

You may shoot me with your words,
You may cut me with your eyes,
You may kill me with your hatefulness,
But still, like air, I’ll rise.

Does my sexiness upset you?
Does it come as a surprise
That I dance like I've got diamonds
At the meeting of my thighs?

Out of the huts of history’s shame
I rise
Up from a past that’s rooted in pain
I rise
I'm a black ocean, leaping and wide,
Welling and swelling I bear in the tide.

Leaving behind nights of terror and fear
I rise
Into a daybreak that’s wondrously clear
I rise
Bringing the gifts that my ancestors gave,
I am the dream and the hope of the slave.
I rise
I rise
I rise.

Maya Angelou, "Still I Rise" from And Still I Rise: A Book of Poems.  Copyright © 1978 by Maya Angelou.  Used by permission of Random House, an imprint and division of Penguin Random House LLC. All rights reserved.
Source: The Complete Collected Poems of Maya Angelou (1994)


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Here is a reading by the author:


VIDEO CREDITS Poem “Still I Rise” written and performed by Maya Angelou DIRECTORS Gabriel Diamond Phil Collis Patrick Barnes EDITOR Patrick Barnes MUSIC COMPOSITION/SOUND DESIGN Bobby Brinkerhoff


01/10/2019

Banksy strikes - again - in London


The infamous Bristolian artist has announced today the opening of his own (counter-)shop

The "shop" has appeared overnight on Church Street in Croydon, South London, and a website is also available to take orders... Headlining on the homepage: "Gross Domestic Product", subtitled "The homewares store from Banksy". Opening soon...

Photo evidence on the shop's website:



Among many of his signatures items/artworks featured in the shop is his stab vest created for grime superstar Stormzy.

"I'm opening a shop today," the artist wrote on his Instagram account, "although the doors don't actually open." Adding: "probably best viewed at night".


London Frenzy and Mediterranean Rescues 


Large crowds apparently gathered on Tuesday morning, on the corner of Church Street and Frith Road, to see the Banksy homewares store .

The move can of course be interpreted as a reaction to the multiplication of unauthorised shops/exhibitions/corners reproducing Banksy's work without his permission.

In a statement sent to the media, Banksy explained that he was being "forced" to launch the online shop - called Gross Domestic Product as mentioned - because a greeting cards company was attempting to legally trade off of his name.

And he's been advised that opening a shop selling his own merchandise could help him protect the trademark on his art...

Here is the full statement: "A greetings cards company is contesting the trademark I hold to my art, and attempting to take custody of my name so they can sell their fake Banksy merchandise legally. I think they're banking on the idea I won't show up in court to defend myself."

The "adviser", Mr Mark Stephens, said to the press: “Banksy is in a difficult position because he doesn’t produce his own range of shoddy merchandise and the law is quite clear — if the trademark holder is not using the mark then it can be transferred to someone who will.”

Of course, the move can appear as a little controversial from the self-proclaimed anti-capitalist provocateur... But how else to remain in control of his messages in this greedy materialistic world?

Banksy added: "I still encourage anyone to copy, borrow, steal and amend my art for amusement, academic research or activism. I just don't want them to get sole custody of my name."

However, the artist wants to specifically use the profits from this endeavour to buy a boat to rescue migrants caught up in the crisis in the Mediterranean.

Banksy explained: “The proceeds from these products will go towards buying a new migrant rescue boat to replace the one confiscated by Italian authorities.  So you may well be committing a criminal offence by purchasing them.”

Among the items on sale are thus welcome mats made from life vests salvaged from the Mediterranean, each hand-stitched by women living in migrant camps in Greece...


Sotheby's Vol. II


Coincidentally, the same week, one of Banksy's paintings, Devolved Parliament - showing the House of Commons packed with chimpanzees, is also on auctioned at Sotheby's in London, on Thursday.

It's put on sell by Kevin Zuchowski-Morrison, owner of street art gallery Rise, who said: "It's incredible that we have this work, very clearly the work of a very famous artist who we all kind of love. It couldn't be any more authentic."

The painting had been on display in Bristol Museum for most of the month of June this year, where I have been interviewed myself about Banksy's work the the European television network, ARTE.




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Photos from Banksy's Instagram account:




https://grossdomesticproduct.com


Video:



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More on Banksy soon...

melissa x