from Zodiac (2024), a graphic memoir by Ai Weiwei
"Well artist basically is a human being who is not very practically functioning and that's why their voices are very important - because they don't have to say something against their intuition or their sensitivity. But today's artists are very corrupted because of education, because of the market, because capitalism has made everything measured by price. So there's a very few artists willing to openly just give out their opinions or to express it successfully, to communicate with a artistic way - to give a unique position and so that's the condition."
As a Chinese dissident who has been repeatedly punished by his government, Ai Weiwei knows that artists who are not adding their voice to the global call for universal freedom of expression might as well be dead. I suspect he considers non-confrontational art as being compliant with normalized autocracy and fascism ... which inevitably kills the Freedom of Spirit. But saying they are corrupted for finding commercial success come across as hypocritical, considering Weiwei blue-chip status.
In a set of essay bundled under the title of " All Art is Propaganda," George Orwell presents a compelling argument that all forms of art inherently carry ideological messages and serve specific purposes, often aligned with political or social agendas.
Orwell begins by broadening the definition of art to include all creative expressions, suggesting that art cannot be neutral. He emphasizes that every piece of art reflects the values and beliefs of its time, whether consciously or unconsciously. He provides historical examples to illustrate how art has been used as a tool for propaganda throughout history. By examining the roles of artists in various political movements, he shows that art often serves to reinforce or challenge societal norms. Orwell discusses the psychological effects of art on individuals and societies. He argues that art can shape thoughts and emotions, influencing public opinion and behavior. This capacity for persuasion underscores the propagandistic nature of art.He posits that artists have a moral responsibility to be aware of the implications of their work. By acknowledging that art can manipulate and persuade, Orwell urges artists to consider the potential consequences of their creations. Orwell reflects on his own experiences and beliefs as a writer, making his argument more relatable. His candid acknowledgment of his motivations and the societal impact of his work adds credibility to his claims. He anticipates and addresses potential counterarguments, acknowledging that some may see art as purely aesthetic or personal. However, he argues that even ostensibly apolitical art can be interpreted through an ideological lens, reinforcing his thesis. Through these methods, Orwell effectively communicates his belief that all art serves a purpose beyond mere expression, aligning it with propaganda's fundamental nature of influencing and shaping societal perspectives.
Weiwei expressing his disappointment with todays artists is not constructive. Instead of calling them dead, he should use them to give life to activists. Because If any artist who isn't an activist ia a dead artists, then perhaps there is some truth that:
Any activist who isn’t an artist is a dead activist.
I believe a more creative advocacy will result in a more effective campaign. Whether tackling big issues affecting large groups or obscure issue with few victims and seemingly no advocates I consider taking action after developing a sense of responsibility- and engage only if I can see that I am unique qualified.
From the following examples of my recent work, I point out some insight, which can be broadly applied to the reads own activism, or I highlight an approach/a technique that they may be able to repurpose for their campaign.
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| Portrait by Winold Reiss, 1925 |
"Artistically it is the one fundamental question for us today, Art or Propaganda. Which?
I believe we are at that interesting moment when the prophet becomes the poet and when prophecy becomes the expressive song, the chant of fulfillment."
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Nushin Sabet Photo by Kurosh, 2022 |
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| Kurosh as Nasrin Sotoudeh, Photo by Will Foster, 2020 |
Shohreh khanoom expresses the sadness and helplessness of Iranians, both in and outside of Iran. That night Kurosh put Navid's name on the Freedom Sculpture and in the following days he added the names of the 9 political prisons. As more bad news about unlawful arrests and human rights violation leaks out of Iran, he continues adding names. On the outer silver cylinder, the names of political prisoners were added using silver letters. And using gold letters on the gold inner cylinder he added the names of those who lost their lives in pursuit of democracy in Iran.
A few simple acts have transformed this iconic Los Angeles landmark (the Freedom Sculpture) into a living symbol of solidarity with the Iranian people who are fighting for their freedom in Iran. It started with Los Angeles-based artist and activist Kurosh ValaNejad who pasted decals on the base of the Freedom Sculpture that read “SAY MY NAME: MAHSA AMINI, BE MY VOICE.” This act became the seed for an ongoing movement around the monument, when Los Angeles artist Nushin Sabet tied a veil to the monument near the decals.
"I had been forced to wear this veil in Iran, due to the compulsory hijab laws over there. So, tying it to the Freedom Sculpture and seeing my veil blowing freely in the wind was a way of sending my hopes and wishes to the courageous women and people of Iran as they fight for these basic freedoms that we take for granted here in America."
Nushin Sabet
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| Photo courtesy of IndieCade |
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| Drawing of Kurosh by Lisl Steiner |
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| Gender |
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| Gender ID |
