Marina Abramović’s art pushes the boundary between audience and artist in pursuit of heightened consciousness and personal change. In her groundbreaking 2010 work, “The Artist Is Present,” she simply sat in a chair facing her audience, for eight hours a day … with powerfully moving results. Her boldest work may still be yet to come — it’s taking the form of a sprawling art institute devoted to experimentation and simple acts done with mindful attention. “Nothing happens if you always do things the same way,” she says. “My method is to do things I’m afraid of, the things I don’t know, to go to territory that nobody’s ever been.

Interactive transcriptInteractive transcript

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We must show Islamophobes that there is no clash of civilizations; just a clash of moral values between decent human beings and mass-murdering lunatics.

Excerpt…

It can be hard not to fall for simplistic narratives fed to us by mainstream media during such times. After all, it seems more convenient to believe that the Paris attacks demonstrate that there is a war between the West and Islam as it provides a relatively straightforward answer to a largely complex problem. However, such rhetoric, whether we realise or not, only strengthens the narrative of IS.

“Attacks like the ones tonight in Paris are committed to purposely trigger an Islamophobic backlash,” writes Nader Atassi, an anti-IS blogger. “That backlash is not an unintended consequence of such attacks; it is part of their logic. Isis wants an Islamophobic backlash because it lends credence to their narrative that there is a war between the West and Islam. By strengthening and emboldening the xenophobic right-wing in Europe, they strengthen their own worldview as well. And the most tragic irony is that the backlash may target refugees who themselves had been fleeing Isis’ reign of terror.”

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excerpt of piece by Laila Lalami @ The Nation…

What happened in Paris on November 13 has happened before, in a   shopping district of Beirut on November 12, in the skies over Egypt on October 31, at a cultural center in Turkey on July 20, a beach resort in Tunisia on June 26—and nearly every day in Syria for the last four   years.

The scenario is by now familiar to all of us. News of the killings will appear on television and radio. There will be cries of horror and sorrow, a few hashtags on Twitter, perhaps even a change of avatars on Facebook. Our leaders will make staunch promises to bring the terrorists to justice, while also claiming greater power of surveillance over their citizens. And then life will resume exactly as before.

Except for the victims’ families. For them, time will split into a Before and After. We owe these families, of every race, creed, and nationality, more than sorrow, more than anger. We owe them justice.

We must call to account ISIS, a nihilistic cult of death that sees the world in black and white, with no shades of gray in between.We must call to account Bashar al-Assad, whose response to peaceful protesters in the spring of 2011 was to send water cannons and military tanks to meet them.

We must call to account the governments of the United States, France, Britain, Russia, Iran, and many others, who lent support and succor to tyrant after tyrant in the Middle East and North Africa, and whose interventions appear to create 10 terrorists for every one they kill.

We must call to account George W. Bush and Dick Cheney, whose disastrous invasion of Iraq in 2003 and subsequent disbanding of the Iraqi army destabilized the entire region.

Wahhabi ideas have spread throughout the region not because they have any merit—but because they are well funded. We must call to account the Saudi kings—Salman, Abdullah, and Fahd—whose funding of Wahhabi doctrine gave rise to the scourge of Islamic extremism…’

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Facebook sets up safety check for Paris friends

| Scott Ludlam |Foreign Affairs

UNHCR’s Global Trends report shows that in 2014 alone 13.9 million became newly displaced – four times the number in 2010. Worldwide there were 19.5 million refugees (up from 16.7 million in 2013), 38.2 million were displaced inside their own countries (up from 33.3 million in 2013), and 1.8 million people were awaiting the outcome of claims for asylum (against 1.2 million in 2013). Alarmingly, over half the world’s refugees are children.

“With huge shortages of funding and wide gaps in the global regime for protecting victims of war, people in need of compassion, aid and refuge are being abandoned,” said Guterres. “For an age of unprecedented mass displacement, we need an unprecedented humanitarian response and a renewed global commitment to tolerance and protection for people fleeing conflict and persecution.”

Syria is the world’s biggest producer of both internally displaced people (7.6 million) and refugees (3.88 million at the end of 2014). Afghanistan (2.59 million) and Somalia (1.1 million) are the next biggest refugee source countries.

Even amid such sharp growth in numbers, the global distribution of refugees remains heavily skewed away from wealthier nations and towards the less wealthy. Almost nine out of every 10 refugees (86 per cent) were in regions and countries considered economically less developed. A full quarter of all refugees were in countries ranking among the UN’s list of Least Developed nations…

The full Global Trends report with this information and more, and including data on individual countries, demographics, numbers of people returning to their countries, and available estimates of stateless population is available at http://www.unhcr.org/2014trends.

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RECENT ISSUES

30 JULY 2015

• Frederick Wilmot-Smith: Court Cuts
• Sheila Fitzpatrick: What Stalin Built
• Julian Barnes: Selfie with ‘Sunflowers’
• Rosemary Hill: Edward and Mrs Simpson

blurb…

Contemporary art always encompasses various disciplines. As art becomes a central part of mainstream culture in China and elsewhere, our plea is that it can contribute in a subcultural sense—not necessarily as the politically vigilant gadfly it was once imagined to be, but as a challenger of a new type. LEAP 33’s cover package “the Ends of Culture” stems from our observations on subculture. The premise is simple: rather than approaching art through cultural and conceptual matrices, we read it through its objects, artifacts, and images. In this cover package, we provide a cluster of keywords that act as a conduit towards the edge of the cultural imagination; like the catalysts and enzymes that encourage a system to grow from within, we hope to create the conditions for the creation, misinterpretation, disruption, and total collapse of an entire cognitive structure.

In addition to the cover feature’s 43 entries of subcultural keywords, this issue’s middle section includes the inaugural edition of LEAP Forum. LEAP Forum / Venice 2015: New Pavilions for a Global Asia brings together artists, curators, and other participants in projects across Venice—from the international exhibition to the national pavilions and collateral shows—to discuss and explore the rapidly changing state of Asian visual culture in the world today. Also featured are two in-depth artist profiles. Colin Siyuan Chinnery analyzes the ways artist Wang Yin incorporates Chinese avant-garde theater and modern culture into his paintings, drawing up a narrative of contemporary China’s cultural ideology and national memories. Matthew Shen Goodman offers an incisive account of recent Hugo Boss Prize winner Paul Chan’s practice, and his tongue-in-cheek attitude towards the art world.

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Adam Goodes is a proud Adnyamathanha man. He celebrates his Indigenous culture and calls out racism when he sees it.

We stand with him.

To mark the 800th year of Magna Carta, the Australian Human Rights Commission has released an animation, interactive infographic and teachers resource on the story of our freedom.

Transcript is at https://www.humanrights.gov.au/magnacarta/video/transcript.html

Animation produced by The Explainers.