source: delaisamorg

Формат надувных скульптур был впервые использован арт-активистами на No Border Demonstration во время климатического саммита в Копенгагене в 2009 году. Демонстрация закончилась напротив правительственного здания, окруженного толпой людей. Внезапно демонстранты сорвали с места гигантский рекламный оранжевый надувной шар голландской энергетической компании. Полиция попыталась вернуть шар, но ветер переносил его с места на место. Сотни людей ощутили невероятное единение при виде гигантского шара над головами, переносимого ветром взад и вперед.

«Мы, будучи художниками и активистами, создаем симбиоз воображения, присущего искусству, и политики вмешательства, характерной для прямого действия, чтобы изобрести новые инструменты для творческого сопротивления» — рассказывает основатель арт-активистской группы Eclectic Electric Collective и он-лайн платформы www.toolsforaction.net Артур ван Бален.

Один из таких инструментов – надувные конструкции — используются как многофункциональный реквизит в ходе разного рода протестных акций. Яркие и невесомые конструкции в руках толпы наглядно раскрывают суть протеста в СМИ — они представляют собой радикальные заявления, выполнены самими протестующими и обладают неординарностью и юмором.

В качестве примера можно привести 12-ти метровый надувной молоток в руках протестующих во время проведения Рамочной конференции ООН об изменении климата в Канкуне (Мексика) в 2010 году. Представителям СМИ хватило времени на то, чтобы запечатлеть конструкцию, позже уничтоженную мексиканской полицией. В считанные часы этот инструмент стал символом международного климатического движения и облетел все телеканалы — от Мексики и США до Великобритании и Германии. Также надувные конструкции успешно использовались в ходе акций протеста против сокращения бюджета в Барселоне в 2012 году, в отношении правительства правого крыла в Венгрии в 2012 году и в защиту прав женщин в Индии в 2013 году, где активисты несли надувной тапочек.

В рамках неформальной конференции о городских инициативах ДелайСаммит Артур проведёт 4-хчасовой воркшоп, направленный на создание подобных надувных скульптур для активного вовлечения участников, креативного захвата публичных пространств и привлечения прессы и публики. На воркшопе также будет обсуждаться тема использования инструментов искусства для деятельности активистов. Кром того, планируется создать рабочую группу по изучению новых типов надувных скульптур, результатом деятельности которой по завершении марафона «Делай Сам» станет изобретение нового вида подобных конструкций.

Подробнее о ведущем:

Артур живёт в Берлине и работает на пересечении искусства и активизма. Масштабные надувные скульптуры – его основной носитель. Они используются для городских интервенций, интерактивных протестов и привлечения прессы к тем или иным социальным и экологическим проблемам. Артур действует в тесном сотрудничестве с различными экологическими и социально ориентированными организациями.
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source: vamacuk
From a Suffragette tea service to protest robots, this exhibition is the first to examine the powerful role of objects in movements for social change. It demonstrates how political activism drives a wealth of design ingenuity and collective creativity that defy standard definitions of art and design. Disobedient Objects focuses on the period from the late 1970s to now, a time that has brought new technologies and political challenges. On display are arts of rebellion from around the world that illuminate the role of making in grassroots movements for social change: finely woven banners; defaced currency; changing designs for barricades and blockades; political video games; an inflatable general assembly to facilitate consensus decision-making; experimental activist-bicycles; and textiles bearing witness to political murders.
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source: justopenedlondon
London’s curatorial ingenuity shows no signs of stalling. “Retrospectives are for when you’re dead”, Jean Paul Gaultier said in London earlier this year, and to accompany his provocation, a whole host of mad galleries have fallen into place. The latest is at the V&A. Disobedient Objects looks at the eccentricities of protest and revolution in a new way: through the eyes of objects.
From tea cups used in the Women’s Rights Movement and inflatable cobblestones in roads to slingshots and loudhailers, the technology and equipment used on the front line has always represented the people that stood behind it. Now, in an internet age, are our instruments and methods changing, or will we always rely on sticks and stones to break the bones of social stagnation?
From artwork-hung banners to activist bicycles and defaced currencies, Disobedient Objects realises that we’re often united by social upheaval: it’s an irony that perhaps – in a perfect world – could be ironed out.
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source: vamacuk
From a Suffragette tea service to protest robots, this exhibition is the first to examine the powerful role of objects in movements for social change. It demonstrates how political activism drives a wealth of design ingenuity and collective creativity that defy standard definitions of art and design. Disobedient Objects focuses on the period from the late 1970s to now, a time that has brought new technologies and political challenges. On display are arts of rebellion from around the world that illuminate the role of making in grassroots movements for social change: finely woven banners; defaced currency; changing designs for barricades and blockades; political video games; an inflatable general assembly to facilitate consensus decision-making; experimental activist-bicycles; and textiles bearing witness to political murders.
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source: justopenedlondon
London’s curatorial ingenuity shows no signs of stalling. “Retrospectives are for when you’re dead”, Jean Paul Gaultier said in London earlier this year, and to accompany his provocation, a whole host of mad galleries have fallen into place. The latest is at the V&A. Disobedient Objects looks at the eccentricities of protest and revolution in a new way: through the eyes of objects.
From tea cups used in the Women’s Rights Movement and inflatable cobblestones in roads to slingshots and loudhailers, the technology and equipment used on the front line has always represented the people that stood behind it. Now, in an internet age, are our instruments and methods changing, or will we always rely on sticks and stones to break the bones of social stagnation?
From artwork-hung banners to activist bicycles and defaced currencies, Disobedient Objects realises that we’re often united by social upheaval: it’s an irony that perhaps – in a perfect world – could be ironed out.
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source: toolsforactionnet
“Protecting protesters from police and causing no damage: an enormous inflatable cube that reflects light! The objective: to impede charging riot police, and prevent them from recording images. The Reflecto-Cube has been already used throughout Europe! You can find DIY tutorials for making them online..“
These are the opening words from the female reporter from the Spanish TV channel La Sexta in May 2013. The broadcast highlighted the wave of popularity of making of inflatable cubes for demonstrations against the austerity cuts in Spain. In the background behind the reporter plays footage of our intervention with inflatable cobblestones in Berlin at the First of May Demonstration. The camera pans over a crowd tossing the inflatables in the air like balloons in a festival, until a giant 3x3x3 meter inflatable cube appears. Why did Spanish television represent a Berlin demonstration on their broadcast about Spain’s austerity protests?
The news report continues, dubbing the enormous inflatable cobblestone a “barricade of the 21st century”. A squad of 20 highly armed riot cops walk backwards intimidated by the sculpture. One policeman tries to tear the inflatable apart, struggling with the shiny slippery surface. Cheers and applause burst from the crowd as the police become increasingly embarrassed by their clumsy attempt to destroy the inflatable.
Perhaps one of the reasons for the recent media infatuation with inflatables is not just their popularity, but also their effectiveness. Inflatables serve multiple functions in a protest that can be summarized by the term “tactical frivolity.”
First: inflatables uplift a grim protest situation into a playful event. There is something magic about what inflatables induce in people. Their enormous size combined with the weightlessness and softness makes them irresistibly attractive and dreamlike. People have a natural tendency to touch the inflatable sculpture and to join the game of throwing inflatables in the air—changing a march into a poetic, joyful and participatory event. In situations where people are kettled in, they serve as excellent playing devices not to let the atmosphere become boring or demoralising.
Second: in times of conflict inflatables can deescalate tension or protect ones own body. In both Berlin and Barcelona, when protesters and police were at their breaking point, the situation transformed when a silver inflatable cube bounced in. A protester throws it on to the police line, the police bounce it back, protesters push the inflatable back again. To everyone’s astonishment a ball game happened between protesters and the police. I have heard stories that in Barcelona two police men arrested an inflatable, squeezing the bulky shape into a police van. Not only do these kinds of situations break the binary confrontation between protester and police, they also ridicule authority.
Third: inflatables provide strong visual imagery that can capture the media spectacle. Protests are often misrepresented or not represented by (mainstream) media. Journalists need a hook, something exciting, unusual or creative that they can spin their story around. An intervention with inflatables can provide this spectacular hook, especially when the joyful inflatable gets destroyed by agitated police or other opponents.
In the First of May Demonstration in Berlin the destruction of the inflatables was carefully planned to subvert the typical representation of the protest. Mainstream press reports of the annual demonstration tend to describe its participants as “stone throwing trouble makers”, using predictable images of broken shop windows, bonfires on the street and stone throwing kids (that could secretly be agent provocateurs). This media representation tactic has been used time and time again, from the Arab Spring to Gezi Park in Istanbul to Barcelona, to sway public sentiment towards the ultimate goal of justifying police brutality and restrictions on protests. We wanted to exaggerate this image of “stone throwing trouble makers” by throwing oversized inflatable stones. Not only did we manifest a media spectacle, we also orchestrated our own countermedia strategy. Equipped with three secret camera teams, each team focused on a specific scene they tried to capture in the seemingly spontaneous course of events.
Other examples of inflatable induced media spectacles is the twelve meter inflatable hammer at the United Nation climate conference in Cancún, Mexico 2010. Protesters stormed the fence of the conference complex and threw the hammer at it, where the Mexican police, in full view of the press. tore the inflatable to pieces. Within an hour the media corporations choose the hammer as a symbol of the climate changes protests and its image traveled across the world.