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Aktuelle Positionen zum europäisch-afrikanischen Diskurs. Material - Gestaltung - Kritik
Art Practices in the Migration Society - Transcultural Strategies in Action at Brunnenpassage in Vienna
Series: Image, 48

Dialogue.” Ivana Pilić, born in 1982, is the assistant director of Brunnenpassage. She is an expert in com- munications and has been a cultural worker at the “ArtSocialSpace” since 2010. Her focus in the artistic fi eld lies on the development and implementation of participatory concepts, curato- rial activities and programming. She is interested in the junction between contemporary art and political/participatory cultural work. She is also a freelance trainer in the fi elds of: gender and anti-racism.

movies is a popular pasttime throughout the world. The primary goal of Cinemarkt is to off er high quality cinema to a great number of people. Many of the movie night visitors experi- ence Brunnenpassage for the fi rst time. Taking a seat at a cinema and watching a movie is much easier than actively participating in a workshop. Cinemarkt is also concerned with raising awareness of political issues, such as migration, refugees, and racism and promoting Austrian fi lmmakers who have immigrated from else- where, and discussing their movies. Following the screenings

of racism and discrimination. They do not ask why Roma are forced to live in miserable conditions and why the segrega- tion within the social fabric is so extreme. They do not mention how deeply the reasoning of the so-called ›majority population‹ is rooted in racism and how this racism makes it impossible for most Roma to access regular educa- tion, have a legal job, social insurance or proper housing. They do not pose the question of why the average Roma are seven times poorer than the aver- age non-Roma citizens and their life expectancy is half as high, why

Standort vom „this human world– Internationales Filmfestival der Menschenrechte“ und dem „Let‘s CEE Festival“ werden auch Festivalfi lme am Yppenplatz gezeigt und einem breiteren Publikum zugänglich. Anwesende Gäste: Ute Bock (Verein Flüchtlingsprojekt Ute Bock), Renate Blum (LEFÖ, Beratung, Bildung und Begleitung für Migrantinnen), Eric Bwire (LGBTI-Aktivist), Andrea Eraslan- Weninger (Integrationshaus), EsRaP (Esra und Enes Özmen, Mu- sikerduo), Sina Farahmandnia (PROSA), Nora Friedl (no racism), Heinz Fronek (Asylkoordination Österreich), Alev Irmak (Schau

impact of positive discrimination and racism on its development and shows how a post-9/11 minaret is impacting on the homo- geneity of this area. Going forward and backward along the immigration and geographical time line‹3 I compare three different urban areas, each of them renewed by local immigrants but also directly and indirectly connected through historical and immigration events. Highlighting the potential of the latest developments helps to explain these events and to find answers to the following questions: Considering current political developments in

vereinheitlichende Kondensierung. Aus derarti- gen Verflachungs- bzw. Simplifizierungsprozessen resultieren geradezu zwangs- 19 Vgl. Pörksen, Uwe: Weltmarkt der Bilder. Eine Philosophie der Visiotype, Stuttgart 1997. 20 Vgl. Rogers, Katie: Snapchat Finds Itself on the Wrong Side of a Radical Lens. Again, https://www.nytimes.com vom 11.08.2016, https://www.nytimes.com/2016/ 08/12/business/media/snapchat-lens-asians-yellowface.html?_r=1 (zuletzt aufgerufen am 01.06.2018). 21 Bergermann, Ulrike: „Instagram Racism

1956 anlässlich eines Kongresses afrikanischer Literatur und Kunst in Paris hielt. Vgl. AUGA, Ulrike: Intellektuelle - Zwischen Dissidenz und Legitimierung: Eine kulturkri- tische Theorie im Kontext Südafrikas, Berlin: LIT Verlag, 2007, S. 129f. Auch Jean- Paul Sartre spricht sich in seinem Werk Black Orpheus von 1948 gegen den „antirassis- tischen Rassismus“ der Négritude aus. SARTRE, Jean-Paul: Black Orpheus (1948), in: The Massachusetts Review, Vol. 6, No. 1 (Autumn, 1964 - Winter, 1965), 1964, S. 13- 52, hier: S. 18: „anti-racist racism“. 286 | Strategien der

turmoil was unleashed by the artist, performer and poet Quinsy Gario. His roots in the Dutch Caribbean (St Maarten Island), influence of postcolonial theory, experience of racism in the Netherlands and a touch of inspiration from Édouard Glissant lie at the heart of his work. In the autumn of 2013 he decided to file a formal objection to the Sinterklaas parade in his home town of Amsterdam because of the allegedly racist character of the festival. And since Gario assembled the statutory number of protestors, the city was formally obliged to research the level of