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Modern activist artists in their practices try to embody those ideal structures upon which they would like to see free society organized in the future. There are more and more artists who unite in groups without clear leaders, acting collectively and/or anonymously. Striving to overcome the framework of the field of art and reach a wide public audience, they are guided in their practice by the ideas of radical political philosophers who are close to them in spirit and proclaim a horizontal and decentralized system of governance, direct democracy, to the point of rejecting any power and state.

In the first part of this chapter, I will discuss the history and examples of the existence of a horizontal and decentralized control system in Russia and some other countries, as well as a theoretical rationale for the very idea of direct democracy. Then I will talk about modern collectives trying to apply the ideas of horizontalization and decentralization in their practice.

In the second part of the chapter, I will describe how activist artists try to build their ethics, based on the philosophy of modern anarchism, and to solve an important question – whether or not to participate in institutional and gallery activities.

In the third and final part, I will give the basic philosophical rules of activist art and speculate on whether the work of art activists corresponds to them. My conclusion is that, apart from the grass roots of the movement, from the connection with genuinely protesting and mass movements, the activity of activist artists is doomed to failure.

This paper presents a comparative analysis of artwork produced in the context of social movements waged by Mexicans and Chicanos (U.S. inhabitants of Mexican descent) during the two decades between the mid-1960s and the mid-1980s. Despite the fact that activists in these movements shared many elements of Mexican culture and history, were part of the same generation of radical social movements born in the 1960s, and experienced some significant interchange among movement participants from each side of the U.S.-Mexico border, an examination of movement art reveals significant differences in key elements of the movements’ collective identity and expression of political citizenship. Analysis of the artwork also highlights different aesthetic choices made by movement artists, particularly with regard to the deployment of formal elements associated with the “Mexican School” of art made famous by artists associated with the Mexican Revolution of the early 20th century. Variations in the representational strategies developed by movement artists reflect the distinct relationship of movement constituents in Mexico and the U.S. to each nation's prevailing regimes of accumulation and modes of regulation. The analysis is based on an examination of 374 pieces of art.

Art is a complex, multiform, fluid human activity that is subjugated to time-space-place contexts and dependent upon social representation and values. But what is it for? This introduction to the book Art in Diverse Social settings begins with a general characterization of Art as universal language. Unlike verbal language, art is primarily processed in the sensorial and emotional fields and only later rationally; unlike science, it does not aim at explaining or predicting the laws of the world's phenomena, instead it communicates by showing (in essence, it has an expressive meaning). In today's world, art became an accessible good and a valuable human creation because of this reappraisal of artistic practices; art is today expressive in domains such as politics, citizenship, economy, ethics, sustainability or public affairs.

The introduction to this edited book explains why it is focused on the role of art in today's diverse society. Art is part of the worldviews and mindsets from which it results and as a complex and ambiguous product of culture and perception, it must be understood from multiple perspectives. As such, this book includes in the first part seminal chapters with a theoretical scope, which highlight conceptual, contextual and cultural issues of contemporary art. The chapters in the second and third parts of the book are exemplary case studies, describing concrete intervention projects, which use some form of art or composed artistic expression as a medium for communication and intervention in the contexts of social and professional organizations, public spaces or the community. A summary of each chapter is provided and linked to the main goal of the book.

The purpose of this paper is to highlight the need to challenge ageism and to draw attention to how art, especially art activism, can challenge Ageism and bring about a new personal understanding of ageing.

This paper is a summary of personal reflections by the author.

The pervasive, ageist, stereotypical attitudes developed at an early age and the possible means to challenge and transform thinking through Art.

Artist and Arts organisations, their commissioners and funders could consider focussing upon ageing across the life course and commission and create work which challenges thinking and the status quo on ageing, reflecting society’s adjustment to an Ageing society.

Art and especially art activism could make a fundamental contribution to a raft of strategies to not only combat ageism but assist personal understanding of our ageing.

Currently there are relatively few artists and arts organisation focussing upon ageing across the life course. The paper states the view that such art activity could assist with new ways of understanding personal ageing and challenge ageist attitudes.

The purpose of this study is to identify shared themes and concerns of two local and critical archives by comparing their design and day-to-day practice.

The action research has drawn on the experience of collaboration between a Sydney-based community space (Frontyard) and the Surabaya-based co-working community (C2O) over one year. Each space houses a small physical library of books, which is the focus of this analysis.

Hacking has emerged as a key value of both archives. A hacking approach has shaped the design of each space and the organisation each archive. Hacking frames the analysis of each collection in this study.

Pragmatic and political understanding of such archives have implications for better quality and more authentic exchange between the communities that make use of these libraries in Indonesia and Australia.

While some work on local critical archives has been done in Indonesia and Australia, no research to date has made specific comparisons with the aim of sharing knowledge. Because these archives are often temporary and ephemeral, documenting the work that goes into them, and their practitioners’ perspectives, is urgent, making possible shared knowledge that can inform the ways communities make decisions about their own heritage.

In this chapter we share research findings from our collaborative research project ‘PASAR: Participatory Arts and Social Action in Research’ (http://fass.open.ac.uk/research/projects/pasar), which combines participatory action research methods of participatory theatre and walking methods in order to understand the way in which racialized migrant women challenge their exclusion and subjugation in the context of the UK. The situation of migrant families in the UK is currently characterized by the ‘hostile environment’ policies. This policy ‘is a sprawling web of immigration controls embedded in the heart of our public services and communities. The Government requires employers, landlords, private sector workers, NHS staff and other public servants to check a person's immigration status before they can offer them a job, housing, healthcare or other support’ (Liberty, 2018, p. 5). The currently hegemonic political discourse, views migrants as outsiders to the nation and challenges their right to access welfare. Migrant families are cast as outsiders to citizenship, challenging the social and cultural cohesion of the nation. Indeed, UK immigration policies render it difficult for migrant families to secure their social and economic reproduction. Against this backdrop, the research explores how racialized migrant families develop their subjugated knowledges to claim belonging and participate in the society they live in. In this chapter, we share the key methodological findings, challenges and benefits of working with a PAR approach for co-producing transformatory knowledge with migrant families and advocacy organizations.

In line with the aims of this book, we reflect on the transformatory potential of research and knowledge for the common good through ‘alternative collaborative system of co-researchers and co-learners engaged in dialogue with civil society and social movements’ (Bacal, Introduction p. 1, see also Andersen and Frandsen, this volume).

This chapter addresses relevant academic discourses and theory development in the cross-disciplinary fields where the arts and business meet. Three specific discourses are investigated: the arts for business, the arts with business and the arts’ disruptive business (or against business). The manner of the investigation reflects the overall tone and approach of this book in that it includes an introductory review of the relevant literature as a means of distilling the key themes and theories that have emerged in this research field. The chapter will thus also add some reference value to the key questions of academic debate about the arts and businesses: where have we come from and where are we now? Some speculation on ‘where we are going’ is also included.