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Van Gogh Museum ends collaboration with Shell (Amsterdam, Netherlands)

September 7, 2018
Fossil Free Culture NL wants to inform you about a major win for the campaign against Fossil Fuel sponsorship of the Arts and Cultural Sector in the Netherlands. The Van Gogh Museum has confirmed that it has ended its 18-year sponsorship deal with Shell, and two other major Dutch museums have followed suit.

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Hot on the heels of the ‘Van Gogh Drops Shell’ announcement, it is our GREAT pleasure to announce that two further major Dutch institutions; Mauritshuis and Museon, have severed their ties with the fossil fuel industry, historically dropping their sponsorship deals in rapid tempo.

That both these institutions are situated in The Hague, home to Shell’s headquarters and the seat of Dutch government, conspicuously reflects the mounting public criticism of Shell’s catastrophic practices, both within the Netherlands and globally. We, and others are working to speed this chain reaction towards critical mass worldwide.

This deal dropping domino effect cannot be a coincidence*. We believe an ethical tipping point in sponsorship norms has been reached in the Dutch cultural sector.

At long last it’s time for the fossil fuel industry to take their well-deserved place alongside tobacco as morally unacceptable sponsors. Sponsors that any self-respecting institution would hurry to wash their hands of. It’s our firm hope that the code of conduct regarding sponsorship of cultural institutions will soon be updated to cement this position into law.

Now that all reference to their former partner Shell has hastily been removed from the Van Gogh Museum’s website, we find ourselves following the current chain of events to their logical conclusion, and arrive at this question; as the last cultural institution on the Museumplein still stained by Shell’s dirty hands, isn’t it time for Concertgebouw to come to their senses and #DropShell?

A Fossil Free Museumplein Amsterdam would certainly be music to many ears.

Maria Rietbergen
For more information visit:

 

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Performance End The Fossil Free Age Now June 9th 2018 – FFCNL

Last chance to see BLIND SPOT at LE CAP – Centre d’arts plastiques de Saint-Fons

July 21, 2018

BLIND SPOT

Lawrence Abu Hamdan
ArtLeaks
Forensic Architecture

 

9 June – 21 July 2018
Free entry from Tuesday to Saturday,  2-6 PM 

 

BLIND SPOT is a group exhibition bringing together three artists and collective groups that are engaged in issues of social justice, and whose activities have a real impact in resolving conflict; using advanced technological tools, developing inquiry and investigation methods that can refer to architecture or the exact sciences, they aspire to a future of fair redistributed social balances.

The BLIND SPOT exhibition is marked by documentary research, modelling sensitivities, and poetic positions in the field of social discourse, and by artists’ civic engagement within civil society in which aesthetics and politics are intimately linked.

The projects shown in the exhibition bear witness to today’s artists and artistic practices ability in enhancing aesthetic research in fields that go far beyond the field of exhibitions and contemporary art.

Moreover, the three artists and collectives presented in BLIND SPOT share a common goal in working for causes, or contributing to investigations (judicial, humanitarian…), which comes as no surprise given the importance that the porosity of these fields of expertise have played in recent art history.

By extension, these artists highlight the importance of aesthetic research as a field of expertise and representation to reveal blind spots that institutions, states or constituted groups seek to keep hidden. Form becomes a field of study and tension. By revealing leaks (ArtLeaks), by formalizing inaudible sounds (Lawrence Abu Hamdan), by modelling conflict zones (Forensic Architecture), these artists demonstrate that not only aesthetics and associated methodology can produce results from a careful examination of sensitive matter, but by penetrating the dimensional complexity of forms BLIND SPOT 09 June – 21 July 2018 Access Entrée libre From Tuesday to Saturday 14.00-18.00 and by appointment rue de la Rochette 69190 Saint-Fons FRANCE Public transport Tram T4 Lénine – Corsière Bus 60 Yves Farge Bus 93 La Rochette-Clochettes lecap-saintfons.com With the support of the gallery Mor Charpentier, Paris can allow us to fully comprehend what we would not understand through simple normative approaches, (application of exact sciences, politics, social sciences…) offering new options in addressing crisis situations.

Reading forms is not just a matter of dilettante pleasure, it can involve the challenge of interpretations and struggles at the heart of which, to paraphrase Jacques Rancière*, our sensory faculties and our inclination to the sensitive bear witness to our own political strength.

Nicolas Audureau, Curator of the exhibition

* Jacques Rancière, Le partage du sensible, esthétique et politique, Paris : La fabrique, 2000.

 

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BLIND SPOT (LE CAP – Centre d’arts plastiques, Saint-Fons, France)

June 2, 2018
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Lawrence Abu Hamdan, Saydnaya (ray traces), 2017. Courtesy : galerie mor charpentier et l’artiste

BLIND SPOT  

Lawrence Abu Hamdan

ArtLeaks

Forensic Architecture

09.06 – 21.07.2018

Vernissage
Vendredi 8 JUIN
à 18h     

Please scroll down for the english version

Blind Spot est une exposition collective regroupant trois artistes et collectifs engagés dans des questions de justice sociale, dont les activités ont un réel impact dans la résolution de conflits, utilisant des outils technologiques avancés, développant des méthodes d’enquête et d’investigation pouvant se référer à l’architecture ou aux sciences exactes, tous aspirant à un futur aux équilibres sociaux redistribués.

L’exposition Blind Spot a une esthétique marquée par des recherches documentaires, par des modélisations du sensible, par des positions poétiques dans le champs du discours social, et par l’implication citoyenne des artistes au sein de la société civile ; dans laquelle esthétique et politique sont intimement liés par le prisme de l’implication des artistes dans des situations de crise.
Nicolas Audureau, curateur.

English version

The exhibition Blind Spot is devoted to three artists or groups engaged in questions of social justice, whose work takes the form of a research or an investigation and appropriates advanced technologies as an instrument of counter-power. The aesthetics and politics in their work are closely bound up enriching each other in the Distribution of the Sensible as famously formulated by Jacques Rancière.

The aesthetic of the exhibition Blind Spot is influenced by documentary researches, by modeling sensitivity, by poetical positions in the field of social discourse, and by the involvement of artists as citizens within Civil society. Aesthetics and politics are closely connected through the real implication of artists into situations of crisis.
Nicolas Audureau, curator.

lecap-saintfons.com

ArtLeaks Gazette #5 Open Call

May 1, 2018

End Our Collective Living Nightmare of the Übermensch — Calls to Fight the Legitimization of White Supremacists, Ableists, Sexists, Transphobes, Homophobes, and Capitalists in the Artworld and Beyond!

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While 2017 has been celebrated as the year of women, queer and trans people, 2018 has witnessed the devastating rise and legitimization of a virulent right-wing backlash around the world. Championing the role of collective whistleblowers, movements like #MeToo, Time’s up, #NoDAPL, #TakeAKnee, and #BlackLivesMatter, have shifted debates about gender and racism out of the violently maintained shadows into international visibility, expanding and negotiating questions of civil courage, testimony, and solidarity. Formulating and testing strategies to fight against the culture of harassment, toxic masculinity, and racism ingrained in our societies, empowerment movements increasingly come up against right-wing conservatism and left-wing patriarchal models that perpetuate inequalities and violence pervasive within institutions,  the private sphere, and beyond.

ArtLeaks Gazette #5 calls for contributions that analyze concrete practices and campaigns, and which engage theoretically and intersectionally with relevant issues related to queer, feminist, racial, and economic justice. As the aforementioned issues have been framed differently in various socio-economic and political contexts, we are looking for contributions that are able to put in conversation nationalist realities, colonial violences, orthodox regimes, and the crisis of identity politics, considering not only overall conditions in the artworld but also local specificities.

We welcome contributions in a variety of narrative forms, from articles, commentaries, and glossary entries, to posters and drawings. The deadline for entries is December 1, 2018. Contributions should be delivered in English, or as an exemption in other languages after negotiations with the editorial council. The editorial council of ArtLeaks takes responsibility for communicating with all authors during the editorial process.

Please contact us with any questions, comments, and submit materials to: artsleaks@gmail.com.

The on-line gazette will be published in English under the Creative Commons attribution noncommercial-share alike and its materials will be offered for translation in any languages to any interested parts.

Limited printed copies will be available. We encourage anyone who would like to support us to print smaller print runs of ALG#5. We will make several PDF formats of the ALG to meet various digital needs, as well as an epub edition. We encourage contributors to be an active part of spreading the ALG by hosting it on their site and forwarding it on to their networks.

For further information please check out previous issues of the ALGs

https://art-leaks.org/artleaks-gazette/

Editors: Corina L. Apostol, Vladan Jeremic, Jasmina Tumbas

A call for intergalactic solidarity actions everywhere to end the destruction of the ZAD

April 11, 2018
Everythings_coming_together_The_ZAD_14

Oliver Ressler, Everything’s coming together while everything’s falling apart, film still, 2017

 

We are writing with the smell of tear gas rising from our fingers. The springtime symphony of birdsong is punctuated by the explosive echo of concussion grenades. Our eyes are watering, less from the gas than the sadness; because our friends’ homes, barns and organic farms are being destroyed. Bulldozers, supported by 2500 riot police, armored vehicles, helicopters and drones, are rampaging through these forests, pastures and wetlands to crush the future we are building here on the to the zad (The zone à defendre).

We are calling on you to take solidarity actions everywhere, it could be holding demos at your local french embassy or consulate, or taking actions against any suitable symbol (corporate or otherwise) of France ! And if you are not too far away, bring your disobedient bodies to join us on the zone. If the French government evicts the zad, it will be like evicting hope.

For fifty years, this unique chequerboard landscape was the site of a relentless struggle against yet another climate wrecking infrastructure, a new airport for the nearby city of Nantes. Farmers and villagers, activists and naturalists, squatters and trade unionists wove an unbreakable ecology of struggle together and three months ago on the 17th of January, the French government announced that the airport project would be abandoned. But this incredible victory, won through a diversity of creative tactics from petitions to direct action, legal challenges to sabotage, had a dark shadow. In the same breath that declared the abandonment, came the announcement that the people occupying these 4000 acres of liberated territory, the 300 of us living and farming in 80 different collectives, would be evicted because we dared not just to be against the airport, but its WORLD as well.

Since that victorious day, the battle has transformed itself and is now no longer about a destructive infrastructure project, but about sharing the territory we inhabit. We stopped this place from being covered in concrete and so it is up to us to take care of its future. The movement therefore maintains that we should have the right to manage the land as a commons (see its declaration The Six Points for the Zad because there will never be an Airport). Today this is the struggle of the zad (zone to defend) of Notre Dame Des Landes.

The zad was launched in 2009 after a letter (distributed during the first french climate camp here) written by locals inviting people to occupy the zone and squat the abandoned farmhouses. Now the zone has become one of Europe’s largest laboratory of commoning. With its bakeries, pirate radio station, tractor repair workshop, brewery, anarchitectural cabins, banqueting hall, medicinal herb gardens, a rap studio, dairy, vegetable plots, weekly newspaper, flour mill, library and even a surrealist lighthouse. It has become a concrete experiment in taking back control of everyday life.

In 2012 the French state’s attempt to evict the zone to build the airport was fiercely resisted, despite numerous demolitions 40,000 people turned up to rebuild and the government withdrew. The police have not set foot on the zad since, that is, until Monday morning, when at 3am the gendarmes pierced into the zone.

On day one they destroyed some of the most beautiful cabins and barns, but yesterday we stopped the cops from getting to the Vraies Rouge, which happens to be where one of our negotiators with the government lives. Destroying the house of those that agreed to sit at the table with you was a strategic mistake. The fabulous zad press team used this as the media hook and today we are winning the battle of the story. If enough people get to the zone over the next days we could win the battle on the territory as well. We need rebel everything, from cooks to medics, fighters to witnesses. We doubt this rural revolt will be finished before the weekend, when we are also calling people to come and rebuild en mass.

Already solidarity demonstrations have taken place in over 100 cities across France, whilst the town halls of several towns were occupied. Zapatistas demonstrated in Chiapas Mexico, there were actions in Brussels, Spain, Lebanon, London, Poland, Palestine and New York and the underground carpark of the french embassy in Munich was sabotaged. They will never be able to evict our solidarity.

Post your reports on twitter @zad_nddl #zad #nddl and to our solidarity action email soutienzad@riseup.net for more info in english see www.zadforever.blog and watch this video to see what is being destroyed: https://www.youtube.com/watch?v=lqrtUkBmv8s

 

The State of Artistic Freedom 2018 // FreeMuse

March 26, 2018

SAF-2018-Freemuse

 

In a first-of-its-kind report assessing the global state of artistic freedom, Freemuse warns of the emergence of a new global culture of silencing others, where artistic expression is being shut down in every corner of the globe, including in the traditionally democratic West.

In 2017, 48 artists were serving combined sentences of more than 188 years in prison. Spain imprisoned 13 rappers – more musicians than any other country. On average, one artist per week in 2017 was prosecuted for expressing themselves. Egypt, Russia and Israel accounted for one-third of violations against LGBT artists and audiences. Seventy per cent of violations against women artists and audiences were on the grounds of indecency, a rationale used in 15 countries across Europe, North America, Asia and Africa. And artists from minority groups suffered violations of their artistic freedom in a near 50/50 split between countries in the global North and South.

The State of Artistic Freedom 2018 report documents and examines 553 cases of artistic freedom violations in 78 countries in the 2017 calendar year, combined with an analysis of legal, political and social developments that shed light on the motivations and rationales behind the violations.

Through this comprehensive analysis we have identified 10 countries that have exhibited alarming developments in how they treat artists and their freedom of artistic expression, and are ones to keep a watch on throughout 2018. These countries are: China, Cuba, India, Iran, Israel, Mexico, Poland, Spain, Venezuela and the US.

The report takes a further in-depth analysis of seven other countries, reviewing their laws, policies and practices that continue to sustain their troubling record of silencing freedom of artistic expressions, and take a closer look at emblematic cases that expose these continuing violations. These seven countries are: Bangladesh, Malaysia, Morocco, Nigeria, Pakistan, Russia and Turkey.

Read The State of Artistic Freedom 2018 report here

Open Letter on the Resignation of Laura Raicovich from the Queens Museum (New York, US)

February 1, 2018

Laura Raicovich, as president and executive director of the Queens Museum, has galvanized the museum field: she has demonstrated how cultural institutions can responsibly and creatively embrace artistic as well as social and political matters crucial to their local constituencies while contributing to the field at large. We have been inspired by her work with art, artists, and communities relating to important cultural issues such as immigration, cultural diversity, education, and equity. The example she set will continue to inform our own work.

We are writing to affirm the leadership role of cultural institutions in advancing cultural and social as well as political public discourse. As stewards and advocates of contemporary and historical cultural expressions, we directors, curators, and staff members of cultural institutions, as well as the board members to whom we are accountable, have a particular obligation to facilitate the free and safe exchange of ideas about our contemporary world with art as the catalyst.

In times of political polarization, arts institutions must fully commit to our responsibility to act as empathetic forums in which we come to understand human history, creativity and society. Art institutions must respond to pressing issues facing our communities — this is not simply a right but an obligation, especially for those supported by public funds.

We call on the boards of our cultural institutions to embrace the civic role of our institutions by supporting and empowering courageous and caring leaders such as Laura Raicovich, regardless of their gender. This is more necessary now than at any other point since the civil rights era in the 1950s and 1960s.

 

Regine Basha
Chloë Bass, Social Practice Queens
Omar Berrada, Curator and Director, Dar al-Ma’mûn, Marrakech, Morocco
Rashida Bumbray, Open Society Foundations
Harry Burke, Artists Space
Johanna Burton
Gonzalo Casals, Executive Director, Leslie-Lohman Museum of Gay and Lesbian Art
Mary Ceruti, Executive Director and Chief Curator, SculptureCenter
Ken Chen, Executive Director, Asian American Writers’ Workshop
Galit Eilat
Anne Ellegood
Charles Esche, Director, Van Abbemuseum, Eindhoven, The Netherlands
Deborah Fisher, Executive Director, A Blade of Grass
Lynn Gumpert, Director, Grey Art Gallery, New York University
Kemi Ilesanmi
Jamillah James, Curator, Institute of Contemporary Art, Los Angeles
Carin Kuoni, Director/Chief Curator, Vera List Center for Art and Politics, The New School
Lucy Lippard
Lydia Matthews, Director, Parsons Curatorial Design Research Lab, The New School
Helen Molesworth, Chief Curator, MOCA, Los Angeles
Alyssa Nitchun
Amanda Parmer, Curator, Vera List Center for Art and Politics
Christiane Paul
Sheetal Prajapati, Director of Public Engagement, Pioneer Works
Laurel Ptak, Executive Director & Curator, Art in General
Silvia Rocciolo, Curator, The New School Art Collection
Jay Sanders, Artists Space
Lucía Sanromán, Director of Visual Arts, Yerba Buena Center of the Arts
Ingrid Schaffner
Paul Schmelzer, Managing Editor, Walker Art Center
Gregory Sholette, Social Practice Queens
Joshua Simon, former Director and Chief Curator, MoBY Museums of Bat Yam, Israel
Manon Slome
Marvin J. Taylor, Fales Library, New York University
Diya Vij
Joanna Warsza, Artistic Director, Public Art Munich 2018, Germany
Martha Wilson, Founding Director, Franklin Furnace Archive, Inc.
Yukiko Yamagata

 

Further reading: Queens Museum Director Laura Raicovich Resigns Amid Political Differences With Board

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