Creative Direction / Technical Direction / Production Design / Contracting
| +64 7 378 3253 | +64 21 214 6169
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ARTIVIST : make by ARTIVIST : creative is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Based on works at artivist.posterous.com.
Guerrilla Media – Urban Arts; Fine Arts; Design – event, graphics, content
Technical Direction / Production Design & Management – music & arts, tours, events, concerts, performance, installation, contracting & booking
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ARTIVIST : creative collaborate with the most experienced & productive artists with capable & humble technicians in New Zealand to develop specific product for target market demographics… we make content to suit our target audience!
artivist
Artivist is a portmanteau word combining “art” and “activist“. Artivism developed in recent years while the anti-globalization and antiwar protests emerged and proliferated. In most of the cases artivists attempt to push political agendas by the means of art. Yet this is not political art as it was known before, in the sense of artworks being political. The artivist is often involved in Streetart or Urban Art, Adbusting or Subvertising.
In some cases, Paris in 2003 for instance, artivists were arrested for acts of political art that verged on property destruction. A typical short term goal of artivists is to reclaim public space, especially by subvertising or destroying ads in urban areas or city transportation systems. Nevertheless artivists engage in different media like the internet not only for actions which could be described as hacktivism.
Often the acts of artivists can be refererred to as part of the larger concept of Culture jamming.
There is a chapter on Artivism in It’s Bigger Than Hip Hop by M.K. Asante, Jr.
Asante writes of the artivist:
“The artivist (artist + activist) uses her artistic talents to fight and struggle against injustice and oppression— by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation.”
creative
creative |kriːˈeɪtɪv|
adjective
relating to or involving the imagination or original ideas, esp. in the production of an artistic work : change unleashes people’s creative energy | creative writing.
• (of a person) having good imagination or original ideas : Homer, the creative genius of Greek epic.
noun
a person who is creative, typically in a professional context.
DERIVATIVES
creatively adverb
creativeness noun
THE RIGHT WORD
Everyone likes to think that he or she is creative, which is used to describe the active, exploratory minds possessed by artists, writers, and inventors (: a creative approach to problem-solving). Today, however, creative has become an advertising buzzword (: creative cooking,: creative hairstyling) that simply means new or different.
Original is more specific and limited in scope. Someone who is original comes up with things that no one else has thought of (: an original approach to constructing a doghouse), or thinks in an independent and creative way (: a highly original filmmaker).
Imaginative implies having an active and creative imagination, which often means that the person visualizes things quite differently than the way they appear in the real world (: imaginative illustrations for a children’s book).
The practical side of imaginative is inventive; the inventive person figures out how to make things work (: an inventive solution to the problem of getting a wheelchair into a van).
But where an inventive mind tends to comes up with solutions to problems it has posed for itself, a resourceful mind deals successfully with externally imposed problems or limitations (: A resourceful child can amuse herself with simple wooden blocks).
Someone who is ingenious is both inventive and resourceful, with a dose of cleverness thrown in (: the ingenious idea of using recycled plastic to create a warm, fleecelike fabric).
by any means necessary!
Jean Paul Sartre
The phrase is from a translation of a sentence used in French intellectual Jean Paul Sartre‘s play Dirty Hands:
“ I was not the one to invent lies: they were created in a society divided by class and each of us inherited lies when we were born. It is not by refusing to lie that we will abolish lies: it is by eradicating class by any means necessary.” ”
— Jean Paul Sartre, Dirty Hands: act 5, scene 3. 1963
Malcolm X
It entered the popular culture through a speech given by Malcolm X in the last year of his life.
“ We declare our right on this earth to be a man, to be a human being, to be respected as a human being, to be given the rights of a human being in this society, on this earth, in this day, which we intend to bring into existence by any means necessary.” ”
— Malcolm X, 1965
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TwitterTwitterFacebookPageLinkedInFlickrVimeoYoutubeTumblrBloggermetaweblog"Only the ghetto consciousness will understand it and only the ghetto consciousness will enjoy it" - KRS-One - 1989
Published on May 25, 2012 by futureshorts
On the eve of the London mayoral election, The Other Cinema, from the creators of Secret Cinema, launched with an inspired free community screening of LA HAINE at the Broadwater Farm Community Centre in Tottenham, London.
As part of The Other Cinema network and tour, the production will travel from Broadwater Farm to The Troxy in Limehouse on 4th May, launch in outskirts of Paris, Saint-Ouen (free community screening) and conclude at Le Trianon in central Paris on 5th May where this production will close, the eve of the second round of the Frenchpresidential elections. Screenings are confirmed in 12 cities and towns in England and France from 2nd to 5th May, including Tallinn, Estonia.
Mathieu Kassovitz, Director of La Haine, said: "I'm proud and honored that LA HAINE after all these years is still a symbol of rebellion for old and new generations. The film's impact is way beyond everything any director would hope for and the strength of Asian Dub Foundation's music makes the film an interactive experience shared by audiences around the world. The choice of Tottenham for the first screening is a symbolic one; youth are still at lost in this globalized political world and don't have any other voice to be heard than violence. Burning and looting is more than thieves stealing toasters. It's the voice of the people that are at the lowest step of the ladder. It should be listened to with respect and intelligence and not simple accusations of 'hoodlism'. I hope these screenings will help remember what we fight for. No justice. No peace." Video by Boris http://www.deadbeatfilms.co.uk
This work is licensed under a Creative Commons Attribution-NonCommercial 3.0 New Zealand License.
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Director/producer/camera/editor - Dean Hapeta aka Te Kupu Thursday 7 June 2012 - Adam Auditorium, City Gallery Wellington / 18:00 until 21:00 
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Emory Douglas (born May 24, 1943 in Grand Rapids, Michigan) worked as the Minister of Culture for the Black Panther Party from 1967 until the Party disbanded in the 1980s. His graphic art was featured in most issues of the newspaper The Black Panther (which had a peak circulation of 139,000 per week in 1970)[1] and has become an iconic representation of the struggles of the Party during the 1960s and 1970s. The San Francisco Chronicle reported that Douglas "branded the militant-chic Panther image decades before the concept became commonplace. He used the newspaper's popularity to incite the disenfranchised to action, portraying the poor with genuine empathy, not as victims but as outraged, unapologetic and ready for a fight."
As a teenager, Douglas was incarcerated at the Youth Training School in Ontario, California; during his time there he worked in the prison’s printing shop. He later studied commercial art at San Francisco City College.
Colette Gaiter writes:
| “ | Douglas was the most prolific and persistent graphic agitator in the American Black Power movements. Douglas profoundly understood the power of images in communicating ideas.... Inexpensive printing technologies— including photostats and presstype, textures and patterns —made publishing a two-color heavily illustrated, weekly tabloid newspaper possible. Graphic production values associated with seductive advertising and waste in a decadent society became weapons of the revolution. Technically, Douglas collaged and re-collaged drawings and photographs, performing graphic tricks with little budget and even less time. His distinctive illustration style featured thick black outlines (easier to trap) and resourceful tint and texture combinations. Conceptually, Douglas’s images served two purposes: first, illustrating conditions that made revolution seem necessary; and second, constructing a visual mythology of power for people who felt powerless and victimized. Most popular media represents middle to upper class people as "normal." Douglas was the Norman Rockwell of the ghetto, concentrating on the poor and oppressed. Departing from the WPA/social realist style of portraying poor people, which can be perceived as voyeuristic and patronizing, Douglas’s energetic drawings showed respect and action. He maintained poor people’s dignity while graphically illustrating harsh situations.” |
What is it with Taupō?!? There's a Fake Arts Festival & now Fake Business Enterprise that admits it delivers nothing for a considerable amount of public funding - $150,000
... & now the Enterprise Fake Taupō wants a further $200,000 to deliver no promises!
With some investigation in to the minutes of the business enterprise (on their website) further reveals the 'service' make application & receive funding & grants from business, agencies & other public funding sources.
"We haven't done very much business attraction yet" admits agency manager Fritz about their obvious failure to date... but what could you expect from a former failed businessman & bankrupt. Frohlke claims the funds would boost the work the agency already does to facilitate business with services like Business Mentoring New Zealand - a non profit trust that offers one-on-one assistance by a volunteer community business mentor.
The recent application for additonal funds from the Taupo District Council was supported by Destination Lake Taupo, Chamber of Commerce & Towncentre Taupo - representatives of all these agencies sit on the board of the Enterprise Great Lake Taupo Trust...
SELF SERVING AGENTS OF OUR COMMUNITY!
IntErupt fake taupō festerval
on ACT
/ & another act of Artivism/ an ingenious attention grab for the ACT Party/ gain a dangerous secret following/ further financial offers/ neo what?!?//
The Act Party's largest financial backer in the last election says he gave money to the party to stop the special treatment of Maori, who are disliked by most New Zealanders.
Louis Crimp contributed $125,520 to Act's 2011 electoral campaign.
Crimp says all of the "white New Zealanders" he has spoken to don't like Maori, who are "full of crime and welfare".
Act's president, Chris Simmons, said he disagreed with Mr Crimp on some areas but respected his right to have a view.
He said he saw Maori culture as "part of our culture".
Maori Party co-leader Pita Sharples said he was appalled by the comments made by Mr Crimp, who is "out on his own".
Invercargill-based Mr Crimp said he was inspired by Dr Brash's controversial 2004 speech at Orewa and decided to support Act when the former National Party leader took over as Act's leader in 2011.
Mr Crimp opposes funding of Maori Television and calls spending on revitalising Te Reo Maori (the Maori language) a waste of money.
NZN
disliked by most New Zealanders
"full of crime and welfare"
a waste of money
"out on his own"
George Nuku & Tracey Tawhiao
les sept elements de le lumiere
21 JUIN > 30 SEPTEMBRE 2012
Gallerie Yapa / St Roch Chapel
18 - 24 Ave St Roch
PARIS
ARTIVIST : creative
