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“Art changes people’s minds and people change the world.”[1]
Shamsia Hassan
In the bustling streets of Kabul, amidst the vibrant chaos of everyday life, the graffiti works of Shamsia Hassani serve as a window into the unspoken struggles and unyielding strength of Afghan women in a male dominant society. Shamsia Hassani is one of several emerging female artists who have garnered global attention in recent years by embracing graffiti as a means to advocate for women’s rights and to bring forth truths in a country that has long been plagued by conflict. Her work, along with that of other artists, falls under the realm of art activism, a term that has gained significant popularity in recent years. Through collaboration and community engagement, and situating artistic creation in social spaces rather than museum confines, art activism has the power to influence and interrogate social contexts extending far beyond the realm of art (Grindon, 2010, p. 11). In my first post, I already touched upon this subject shortly by focusing on the works of cartoonist Yves Kulondwa. In my second post, I talked about how Afghan have started using digital spaces to amplify their demands and reach the international community in the fight against the Taliban. In this post, I aim to bridge these two realms, embarking on an academic inquiry into the practice of art activism, with a specific focus on the work of Shamsia Hassani. Through a scholarly lens, this analysis aims to critically examine the intricate intersections of conflict, art and activism, shedding light on the profound implications of Hassani’s artistic endeavours within the realm of social change.
Art Activism: A Short History
In recent decades, the concept of ‘activist art’ or ‘art activism’ has witnessed a surge in popularity, both within academia and the international art community. Back in 1984, Lucy Lippard provided an early definition of art activism, describing it as a practice that transcends traditional art boundaries, operating both within and beyond the established art world. She said that it “is probably best defined in terms of its functions” (342), and “is, above all, process-oriented” (343). Fast forward to 2018, Paula Serafini expounds on this notion in her book ‘Performance Action: The Politics of Art Activism’. She highlights that art activism sets itself apart from political or critical art by going beyond mere critique of the art system and the prevailing political and social conditions (p.2). Instead, it actively seeks to reshape these conditions through artistic means, extending its reach outside the boundaries of the art system to engage directly with reality (p.3). Scholars, though differing in their interpretations, unanimously agree on one aspect: art activism is an expansive term. It encompasses artistic endeavours ranging from critical practices deeply rooted in institutional art to community-based projects. It extends into the vibrant world of street art, but also into the realm of invisible theatre and tactical media within social movements (Grindon, 2010, p. 11). This expansive landscape enables art activism to craft its transformative narrative using diverse creative forms, each playing a role in the broader discourse of societal transformation.
But despite all these artistic endeavours falling under the same term, there are, of course, significant differences among them, each with a distinct impact and reach. As Grindon rightly points out, it is important to acknowledge that a considerable portion of art that delves into social critique, engagement, or activism operates within the confines of invisible yet rigid institutional boundaries (2010, p.11). In museums or galleries, artists have the liberty to be as subversive and inquisitive about societal dynamics as they desire. In fact, such activists expressions are actively endorsed and often met with acclaim in the form of favourable reviews and financial support. However, when the same subversion and questioning are applied to real-world social relationships, the stakes become considerably higher, which is also the case for Shamsia Hassani. There is a curious dynamic here, as Grindon points out:
“At the same time that ‘activism’ is being received with unprecedented enthusiasm by liberal art institutions, it is being criminalised and excluded as ‘terrorist’ by political establishments. (p.11)”
In many countries where freedom of speech is a given, often in the West, art activism is almost romanticised. Artists are free to use their art as a platform to address global issues or conflicts, typically without facing any repercussions for their expressions. But in countries where freedom of speech is not a given, like in Afghanistan, the mere act of creating art is already an act of resistance on itself:
“When people see me outside doing graffiti, they say bad words, they curse and some call it a sin. People in Afghanistan are not against art, but against women doing such activities.”[2]
This quote from Hassani shows that the very act of painting itself is also a form of resistance against traditional gender norms and biases that constrain women’s creative expression. In doing so, Hassani in fact conveys a dual message: by engaging in the act of making art, she is speaking out against the prohibition of creating such work and other societal restrictions, while also delivering a message with the content of the artwork itself.
Art activism today
Not too long ago, art activism faced substantial criticism due to its perceived ineffectiveness and its tendency to turn political action into an aesthetic spectacle (Groys, 2014, p.1). This viewpoint did not emerge out of thin air. In the past, art was commonly regarded as intrinsically useless by the majority of society, a perspective that seemingly hindered art activism as well. The aestheticization of political problems, as was claimed, would divert attention from the practical goals of protest, neutralizing its impact (p.3). Thus, the artistic element within art activism was frequently perceived as the primary factor behind the limited practical, real-world efficacy and immediate societal and political influence of such activism.
But a few decades later, we have witnessed a remarkable transformation. Contemporary art activism has taken a groundbreaking turn, choosing not to cast aside art but instead striving to imbue it with purpose. This shift marks an unprecedented point in history, challenging traditional notions of art’s utility and positioning art activism as a dynamic catalyst that bridges the realms of artistic expression and substantial social change (Groys, 2014, p.3). Art activism, as we know it today, employs artistic forms to drive social and political change and are rooted in or directly associated with social movements and battles. This shift redirects our attention from the art world, which continues to dominate much of the existing literature on this subject (Serafini, 2018, p.3). Employing strategies grounded in collaboration, community engagement, and prioritizing the process of making art over the final product, art activists can influence and interrogate social contexts extending far beyond the realm of art (Grindon, 2010, p. 11).
About Shamsia Hassani
This shift also took place in Afghanistan. Until the Taliban took over Kabul in 2021, contemporary visual arts were experiencing burgeoning growth, especially in the capital city. Afghan artists finally began to gain more visibility and recognition within the international art community. Art activists in particular started receiving a lot of attention worldwide and were seen as significant figures for effecting social change. However, after two years of Taliban rule, the artistic community has suffered serious setbacks. In arts, women previously made up more than 50% of students. The exclusion of women from education, coupled with restrictions on what art can be practiced, including an unofficial ban on music, sculpture and portraiture, has led to the removal of numerous art programs from institutions and prompted countless artists to leave the country.[3]
Although faced with even greater risks, those who have decided to stay, continue to use their art to raise their voices and to shed light on the ongoing conflict in Afghanistan. Among them is Shamsia Hassani. Besides being Afghanistan’s first female graffiti artist, Shamsia Hassani is also a professor at Kabul University, curator, founder of the art collective, Rosht, and most of all, an activist. Her art, predominantly seen on Kabul’s walls, intricately blends tradition with modernity, depicting Afghan women with closed eyes and without mouths, symbolizing the challenges faced by Afghan women who often find their voices suppressed and their perspectives obscured in society. Nevertheless, they exude a sense of strength and determination, as they defy the challenges of their environment and break free from societal constraints.[4]
Hassani employs the ethereal blue burqa silhouette to fashion a spectral female presence that traverses the urban landscape, venturing into spaces traditionally off-limits to women: public areas, streets, and derelict structures. Her visual compositions are often complemented by poetic texts or sentences. In one of her works, Hassani skilfully spray-paints a contemplative female figure perched on a shattered staircase. Etched on the battered wall behind her is the poignant verse: “The water can come back to a dried-up river, but what about the fish that died?” This verse alludes not only to the lives lost during the tumult of war but also to the forfeiture of a way of life and the curtailment of freedoms in the wake of decades of conflict (Montagu, 2014, p. 47).
As such, she delivers a strong message with her work. Although critics would say it is limited in its practical, real-world efficiency, most scholars today would agree it is undeniably certain that her works foster new discussions and fresh contemplation. As Crimmin describes, art cannot put an end to a conflict or war, but it can influence how we remember it (2014, p.11), which is exactly what Hassani aims for with her work. Her work serves as a vital medium for preserving and disseminating essential truths that might otherwise fade into oblivion or be wilfully disregarded (Montagu, 2014, p. 47). As such, art as a form of resistance has the capacity to reflect upon experiences in relation to conflict and war and offer a different, often more personal, rather than political, narrative of history (Crimmin, 2014, p.11).
Art as a process
It is clear that Shamsia Hassani’s work transcends the boundaries of mere activism; it encompasses a profound message not just within her creations but also through the very process of art itself. She extends her reach beyond the canvas by organizing seminars and exhibitions worldwide, both online and offline.[5] By doing so, she seeks to reshape global perceptions by shedding light on the nation’s artistic and cultural richness, emphasizing that Afghanistan should also be known for its art and not solely for the ravages of conflict.[6] Moreover, Shamsia employs her art to challenge prevalent stereotypes about Muslim women, particularly those concerning the headscarf, which has been unfairly equated with the oppression of women by Islam. Through her art, seminars, and interviews she opens up discussions about this matter, stating that liberating women does not solely hinge on removing these garments. [7]
Delving into Hassani’s motives to paint, also unveils a deep-rooted emphasis on the process rather than the final result. Her artistic journey, she asserts, is not just about creating captivating visuals; it is a means to infiltrate everyday life, making art accessible to all:
“Afghan people have no chance to visit art galleries… and if it is there for a long time, then people will slowly memorize it and it will be part of their everyday life… and they don’t need a ticket.”[8]
Now that the Taliban has closed many art institutions, has stopped art programs, and prohibited specific art forms, Hussani gives the people back a right that was taken away from them by the Taliban. As her art works emerge throughout the city, it rekindles a space for dialogue and dissent, further highlighting the transformative potential of art activism.
Conclusion
In conclusion, the evolution of art activism as a dynamic force for societal change is a remarkable journey. As contemporary art activists redefine the boundaries of art, transcending traditional limitations, and collaborating with communities, they pave the way for substantial social and political transformations. It is a journey that not only challenges conventional notions of art’s utility but also proves that art is more than just an aesthetic spectacle. This transformation has also taken root in countries like Afghanistan, where artists like Shamsia Hassani have harnessed the power of art to voice their messages and preserve essential truths. Hassani’s work and her approach emphasize that the process of creating art can be a form of resistance in itself, redefining art as a means to infiltrate everyday life and make it accessible to all. She reclaims the right to art for the people, to foster dialogue, and challenge societal constraints. Paradoxically, while the need for her to remain invisible has grown, her artworks have gained even greater visibility in the streets of Kabul under the shadow of the Taliban regime. In this way, art activism has demonstrated its potency as a catalyst for change, shedding light on the untold stories of conflict-ridden societies and engaging with the global community to reshape perceptions, amplify voices, and promote cultural richness.
[1] https://www.shamsiahassani.net/
[2] https://www.vice.com/en/article/aenqgj/shamsia-hassani-kabuls-female-graffiti-master
[3]https://www.theartnewspaper.com/2023/08/21/what-impact-has-two-years-of-taliban-rule-had-on-the-arts-in-afghanistan
[4] https://www.shamsiahassani.net/
[5] https://www.shamsiahassani.net/
[6] https://www.huffpost.com/entry/afghanistans-first-female-street-artist_n_56c26fd5e4b0b40245c79f3c
[7] https://www.huffpost.com/entry/afghanistans-first-female-street-artist_n_56c26fd5e4b0b40245c79f3c
[8] https://www.voanews.com/a/female-afghan-graffiti-artist-seeks-change-through-murals/4638097.html
Bibliography
Crimmin, M. (2014). Introduction: Reflections on Art and Conflict. Art and Conflict, 3-14. Royal College of Arts.
Dufour, K. (2002). Art as activism, activism as art. Review of Education, Pedagogy, and Cultural Studies, 24(1-2), 157-167.
Grindon, G. (2010, February). Art & Activism. Art Monthly, 333, 9-12.
Groys, B. (2014). On art activism. e-flux journal, 56(6), 1-13.
Lippard, L. R. (1984). Trojan Horses: Activist Art and Power. In B. Wallis (Eds.), Art after Modernism: Rethinking Representation (pp. 341–358). New Museum of Contemporary Art.
Montagu, J. (2014). Contemporary Visual Art in Afghanistan: ‘An Art of Laughter and Forgetting…’. Art and Conflict, 44-55. Royal College of Arts.
Serafini, P. (2018). Performance action: The politics of art activism. Routledge.
Personal reflections on the blogging exercise
Besides learning about the power of art in activism, becoming more aware of my own privileges growing up in the Netherlands and so on, writing this blog has taught me a lot. All in all, it has been a dynamic and exciting experience that, I believe, has enriched my academic and professional writing and deepened my understanding of effective communication with diverse readers and stakeholders. One of the most important lessons learned from my blogging experience is the importance of connecting with my audience. Blogging compelled me to adopt a more reader-centric approach, wherein I considered the interests, needs, and preferences of my audience.
Moreover, writing a blog also enhanced my capacity for brevity and clarity. In the world of blogs, conciseness is crucial for maintaining readers’ interest. Where I normally always use too many words and find it difficult to get to a point, writing in a blog style forced me to convey complex ideas or issues more efficiently, which I think will also be of value for the rest of my academic and professional career. Additionally, the blog has also been an experimental ground for diverse writing styles and genres, encouraging me to step out of my comfort zone. Although it felt uncomfortable at first to apply a rather popular writing style, I believe that this experience has expanded my repertoire as a writer, enabling me to adapt to various formats and genres.
All in all, my journey as a blogger has not only enriched my personal writing experiences but has seamlessly integrated with my professional and academic pursuits. The skills and insights gained from the blog have help me to become more adaptable, reader-focused, and disciplined as a writer. But most of all, I really enjoyed the writing. The more blogs we wrote, the more our website started to look like a real blog, and the more followers we gained, the more exciting it got.
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