#bodypolitic

MOST RECENT

#BODYPOLITIC #Flag making workshop at # Selfridges window tomorrow Friday the 19th afternoon !!! Supporting @GarethPughStudio From : 1pm - 5pm.
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From 5 till 6 or 7 @ibkamara will be #styling Brittany who will be sitting in the Oxford st/Duke st window, possibly draped in the new flag ??
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Come and join the fun making the flag, writing your #Hopes and #Dreams on it, watch the styling transformation , and maybe maybe a little drink !!!
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@tottyfuckshame is doing another workshop in Copenhagen so we need Totty impersonators as well as #Photographers !!!
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#ProGaff #Love #EMPATHY #Freedom #Dream #TRUTH #curiosity #Unity #hope

#REPOST
How many 👀 this Coming ? ...i aint got to make this Stuff up ...just like they Give it to you theyve already devised a way to undermine you for it 💰, but at a Cost which includes the ultimate price "Your Freedom" #FreedomcomeswithResponsibility ...9 times out of 10 the information gathered usually comes from inside ya own camp seemingly as with All cases , just like they did Gucci Man #Guwop scared dat brother So straight after They kept making examples out of Him that the Public as many thought Him to be a Clone when he came bk home with the new Found way of life & decision making as A Grown Man after serving that last bid ...#FreeRalo #AndISworeMarijuana #decriminalize #PublicEnemyNo.1 #ThinkitsAGame #HowmanyActuallyDidntSeeThisComing ...#PoliticalCommunity #Followformoreinfo @exodusfreesociety #humanrights #LilPakistan #Conspiracy2CommitFelony ...peep it aint even gotta be done commited the act ...#Ralo #BoDyPolitic #PublicEnemy #SilentWar #GangGang #AukShiid #TerrellDavis #Comment #Community-based #State&;Federal #Work2gether #WhyDontWe #AsthePeople #RapperArrest #knowLaw

How many 👀 this Coming ? ...i aint got to make this Stuff up ...just like they Give it to you theyve already devised a way to undermine you for it 💰, but at a Cost which includes the ultimate price "Your Freedom" #FreedomcomeswithResponsibility ...9 times out of 10 the information gathered usually comes from inside ya own camp seemingly as with All cases , just like they did Gucci Man #Guwop scared dat brother So straight after They kept making examples out of Him that the Public as many thought Him to be a Clone when he came bk home with the new Found way of life & decision making as A Grown Man after serving that last bid ...#FreeRalo #AbC.boiz #AndISworeMarijuana #decriminalize #PublicEnemyNo.1 #ThinkitsAGame #IfYaWant #HowmanyActuallyDidntSeeThisComing ...#PoliticalCommunity #Followformoreinfo @exodusfreesociety #humanrights #LilPakistan #Conspiracy2CommitFelony ...peep it aint even gotta be done commited the act ...#Ralo #BoDyPolitic #PublicEnemy #SilentWar #GangGang #AukShiid #TerrellDavis #Comment #Community-based #State&;Federal #Work2gether #WhyDontWe #AsthePeople #RapperArrest #knowLaw

#Rp. You know whats so funny about my people today ...is that when you try to offer them a #Remedy to keep them from being victims of social & racial injustices after theyve struggled in it for so long before they come into contact with yourself & the programs for protection of their Rights within the Law , how hard the Recessive mentality is for em to break until it becomes a detrimental nature to they Lives either in "Death" or "Incarceration" in which We were trying to Save em from the whole time ...smh #Hardwork #conspiracy #Gangland #mybrotherskeeper #NGO #Power #Bodypolitic #indigenouspeople #IndependentDivineMinistry #O.G.experience #Followformoreinfo @exodusfreesociety #BishopBlud1💜 #HardheadToreASoftBehind #Grownman💧✊Biz #Life #ChooseLife #faxts💯 #GangGanG #WeKanBeHell #Familia #WeR1 #Divide&;Conquer #KnowOurHistory

Another text that’s been of great importance for me @anjaolofgors is #BodiesCities by #ElisabethGrosz | “The city is one of the crucial factors in the social production of (sexed) corporeal bodies: the built environment provides the context … for most contemporary … forms of the body.” |“The city and body will interface with the computer, forming part of an information machine in which the body’s limbs and organs will become interchangeable parts with the computer.” | #bodypolitic #feminism #queer #gender #architecture #body #politics #reseach @womeninphoto #fastforward

Thinking about #Flags today . . . Drawing for #BODYPOLITIC #CoatOfArms #Scissors #IntersectionalAnarchy : : :
@mccollywood someone we know loves a pair of large golden scissors !!

Co teaching an introductory movement class to Kiev Club of Tolerance and Social Justice on a beautiful windy spring day in the sun with Katya Chizayeva. #bodypolitic #movementforeveryone #dance #improv #contactimprov #izolyatsiya

Akbari was diagnosed with breast cancer in 2007 and she lost her breasts due to the cancer. After she directed, wrote and acted 10+4 which showed her struggle with the cancer, the depiction of the artists body became central in her works. In the same year, Akbari photographed her own naked body for the photo project titled Devastation. Although it was pretty risky, put herself in danger and prohibited to exhibit Devastation in Iran due to the naked images of her own body, Akbari continued to depict her own body as a new medium and new material so that she provided a video secretly as well. In 2012, after Akbari left Iran due to the barred situation of filmmaking and arresting film makers, she uses the video that shoot secretly from her own body in 2007 and juxtaposed with new images and the song of Ahangaran, who was a singer for the war time between Iran and Iraq. As a result of her action and performance, the video project titled In my country, Men Do Have Breasts happened. For Akbari the aim of this video project is a protest in relation to the current political situation between Iran, United State, and Israel, the war in Middle East, and also the corrupted atmosphere inside of Iran. In my country, Men Have Breast evokes the relationship between the devastating memory of war and the memory of the woman who lost part of her body due to ravages of cancer. The video highlights the symbolic connection between war, as a cancer, and the scars it bears on society. The metaphor also extends as a comparison between individual and society; the interaction of collective and personal memory of the war and death. The song over the video is by Ahangran, a singer whose voice has a heavy tone that symbolizes the massacre and death of the soldiers in the war of Iran and Iraq. This song is part of a difficult collective memory of the Iranian people during ten years of war. #inmycountrymenhavebreasts #maniaakbari #bodypolitic #bodyandwar #bodyandreligine #videoart

Afterwards, the former voice coach puts the aspirant singer off with a blunt ‘for women, singing in this country is a dead art’, and they all share a banana.

As Akbari’s condition deteriorates, the mood changes, captured in a defining moment that takes place in a cable car, a location that recurs throughout the filmmaker’s work. Here, Akbari is accompanied by actress Behnaz Jafari who – with her head shaved – literally acts as a double or mirror (a bar divides the screen in two), confronting Akbari with the other side of the coin. Full of admiration for Akbari yet unable to be as strong as her, Behnaz – presumably also suffering from cancer – breaks down after the filmmaker recounts the pain she felt the first time she saw a reflection of her body in the mirror after the operation: ‘I couldn’t recognise myself’ she declares.
The themes of representation and identity that also structure 20 Fingers (and to some extent underpin the ‘unnamed version’ of herself Akbari played in Kiarostami’s Ten) are key in the final scene of 10 + 4. In the course of a conversation between a visibly healthy Akbari and a woman who’s fought cancer twice, the latter imparts some advice: if the illness is used to create something good, you are tempting the cancer to come back, and it’s always like a ‘Russian roulette. There are 7 holes, you could win or you could lose each time’. Yet this is the very premise on which the artist’s work – be it art, video, photography, or film – rests.In fact, this conversation could just as easily have taken place before rather than after the filming of 10+4. As such, the main purpose of Akbari’s film would be not so much to bear witness to the filmmaker’s proximity to death, but rather to embalm in time her own self-rediscovery, as well as related concepts such as beauty, pain, death, family, society. Seen this way, Akbari’s testimony wins out against cancer, as she transforms its ravaging power into the defining prism through which the artist looks at the world. #10+4 #maniaakbari #behnazjafari #bodypolitic #womanissues #bodysociety #deadandlife #womanfighter #filmmaker #womanartist #iranianwomanartist

Mania Akbari’s second feature 10+4 reproduces the situation and, at least initially, the form – a blurring of the line between documentary and fiction – of Abbas Kiarostami’s 2002 feature Ten, in which Akbari played the protagonist. It opens on the same set-up as Ten, in which Akbari and her then ten-year-old son Amin Maher bicker in the car. Cut to the present; both mother and son are in the same position in the car continuing their argument, but with a twist – Akbari is now directing herself as lead, and engaged in a fight against breast cancer that will end with her having a double mastectomy. She is thirty years old.
Where the entirety of Ten takes place within the confines of the car, in 10+4 Akbari switches from the driver’s seat to the back seat, to a hospital room, to her bed, a cable car and a café, each location determined by the debilitating consequences of the disease. She deals not only with the possibility of her own death and the physical toll that chemotherapy is visibly taking on her, but also with the pain caused to her family and close friends, and – hardest of all – the stigmatisation her condition also incites. For some, the illness is her punishment for not conforming; as she declares towards the end of the film: ‘Part of me knew this was a wrath, a punishment, a revenge’.Akbari puts on what seems an unwaveringly brave face – ‘I have to power-play all the time to tell everyone I am fine’ – while conversations drift from the moving to the humorous and back. At one point, Akbari puts an aspiring singer in touch with a potential voice coach. As the three of them sit uncomfortably cramped together in the back seat on a tangibly hot day, Akbari asks the amateur to sing for them. Suddenly, the tense silence turns truly mesmerising, filled with the words of a poem/song by Iranian artist Bahareh that speaks about seizing the present, as the camera takes a 180 degree turn to look at a couple on a bike driving in front of the car, instantly returning the viewer to the recent past. #10+4 #film #documentary #sansebastianfilmfestival #centrepompidou #bfi #bbc #bbcpersian #musumefineartboston #chicagofilmfestival #redcat #iranianwomanartist #bodypolitic

All this is framed by a divided screen which presents the top and bottom part of her body disconnected i.e. separating virtue and sex. This division is most clearly depicted in Escape, where a newly married couple are sitting side by side on a merry-go-round each holding a fruit, her a pomegranate, him a banana (the inclusion of this fruit caused the exhibition to be banned in Iran). When the fairground ride starts, their bodies disconnect from their heads and the dismembered parts go round in unsynchronised circles, reminiscent of a fruit machine. But it is in both Fear and Devastation that the rejection of society’s repressive norms vis a vis women is at it most direct. A woman and a man are tied together while women whisper in the background in Fear; and the image of a woman with her face painted green and smoking a cigarette (an activity banned for women in Iran by virtue of its sexual connotations) is repeated ad infinitum in Devastation.The allusions to religion and repression are particularly straightforward in Devastation; the green paint is not only Akbari’s comment on a country that, in her view ‘is full of colour but decides to hide it’, but also the main colour used in the ceremony, exclusive to women, to celebrate the honour of the Prophet’s daughter, Fatimah. Devastation is primarily a withering attack on this celebration of Fatimah as a role model for women. But where there’s imposition there’s also contradiction – the same ultra-religious women who attend this celebration also smoke in private. Although this dialectic of pleasure and repression clearly fascinates Akbari, the endless multiplication of images of the woman’s face in green and an increasing number of cigarettes in her mouth in Akbari’s video art ultimately produce a sinister effect. ‘This is because Fatimah only means something communal, leaving no space for the individual. For me this is really frightening’.By Mar Diestro-Dópido #6videoarts #maniaakbari #mardiestrodopido #bodypolitic #abstract #sorealistic #metaphore #womanidentity #bodyidentity #tatemodernmuseum

Free Remake and Remodel/Body Politic workshop: -Have a go at knitting or embroidering -explore visual mending through darning techniques -express personalised messages though screen-printed logos and text

This Fashion Revolution Week- 25th April 1 PM @soasuni location subject to change depending on UCU action. ***Tickets available via link in bio***
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#remakeclothing #repurposeclothing #upcycledclothing #zerowastefashion #diyfashion #embroidery #knitting #darning #bodypolitic #screenprinting #workshop #fashionrevolution #fashionrevolutionweek #fashrev #fashionrevolutionday #findout #becurious #dosomething #ranaplaza #ranaplazaanniversary #haulternative #makesomething #makesmthng #repairingiscaring #repairclothes #slowfashion #ditchfastfashion #fashionrevolutionweek2018 #fashionrevolution2018 #fashionrevolutionary

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