Performance Action looks to advance the understanding of how art activism works in practice, by unpacking the relationship between the processes and politics that lie at its heart. Focusing on the UK but situating its analysis in a global context of art activism, the book presents a range of different cases of performance-based art activism, including the anti-oil sponsorship performances of groups like Shell Out Sounds and BP or not BP?, the radical pedagogy project Shake!, the psychogeographic practice of Loiterers Resistance Movement, and the queer performances of the artist network Left Front Art. Based on participatory, ethnographic research, Performance Action brings together a wealth of first-hand accounts and interviews followed by in-depth analysis of the processes and politics of art activist practice. The book is unique in that it adopts an interdisciplinary approach that borrows concepts and theories from the fields of art history, aesthetics, anthropology, sociology and performance studies, and proposes a new framework for a better understanding of how art activism works, focusing on processes. The book argues that art activism is defined by its dual nature as aesthetic-political practice, and that this duality and the way it is manifested in different processes, from the building of a shared collective identity to the politics of participation, is key towards fully understanding what sets apart art activism from other forms of artistic and political practice. The book is aimed at both specialist and non-specialist audiences, offering an accessible and engaging way into new theoretical contributions in the field of art activism, as well as on wider subjects such as participation, collective identity, prefiguration and institutional critique.

artWork: Art, Labour and Activism brings together a variety of perspectives on contemporary cultural production and activism in order to interrogate how the concepts of art, labour and activism intersect in practices for social change. What can we learn about contemporary art and politics by looking at the intersections between art, labour and activism? What theoretical tools can help us arrive at a deeper understanding of these intersections? In order to address these questions, this collection explores the role of art as activism, the use of social media and technology in creative production and organising, the politics of artmaking, the commodification of culture and the possibility of a creative commons, and the work of artist activists as educators. In addition to offering a variety of new perspectives from researchers and practitioners, it proposes new paths towards interdisciplinary research in this field that combine sociological, anthropological, philosophical and art theory perspectives. It will be of interest to students and scholars interested in creative labour, social movements and political arts practice.

Performance Action looks to advance the understanding of how art activism works in practice, by unpacking the relationship between the processes and politics that lie at its heart. Focusing on the UK but situating its analysis in a global context of art activism, the book presents a range of different cases of performance-based art activism, including the anti-oil sponsorship performances of groups like Shell Out Sounds and BP or not BP?, the radical pedagogy project Shake!, the psychogeographic practice of Loiterers Resistance Movement, and the queer performances of the artist network Left Front Art. Based on participatory, ethnographic research, Performance Action brings together a wealth of first-hand accounts and interviews followed by in-depth analysis of the processes and politics of art activist practice. The book is unique in that it adopts an interdisciplinary approach that borrows concepts and theories from the fields of art history, aesthetics, anthropology, sociology and performance studies, and proposes a new framework for a better understanding of how art activism works, focusing on processes. The book argues that art activism is defined by its dual nature as aesthetic-political practice, and that this duality and the way it is manifested in different processes, from the building of a shared collective identity to the politics of participation, is key towards fully understanding what sets apart art activism from other forms of artistic and political practice. The book is aimed at both specialist and non-specialist audiences, offering an accessible and engaging way into new theoretical contributions in the field of art activism, as well as on wider subjects such as participation, collective identity, prefiguration and institutional critique.

artWork: Art, Labour and Activism brings together a variety of perspectives on contemporary cultural production and activism in order to interrogate how the concepts of art, labour and activism intersect in practices for social change. What can we learn about contemporary art and politics by looking at the intersections between art, labour and activism? What theoretical tools can help us arrive at a deeper understanding of these intersections? In order to address these questions, this collection explores the role of art as activism, the use of social media and technology in creative production and organising, the politics of artmaking, the commodification of culture and the possibility of a creative commons, and the work of artist activists as educators. In addition to offering a variety of new perspectives from researchers and practitioners, it proposes new paths towards interdisciplinary research in this field that combine sociological, anthropological, philosophical and art theory perspectives. It will be of interest to students and scholars interested in creative labour, social movements and political arts practice.

Latin American extractivism has become the ground on which activists and scholars frame the dynamics of ecological devastation, accumulation of wealth, and erosion of rights. These maladies are the detritus of longstanding extraction-oriented economies, and more recently from the expansion of the extractive frontier and the implementation of new technologies in the extraction of fossil fuels, mining, and agriculture. But the fields of sociology, political ecology, anthropology, and geography have largely ignored the role of art and cultural practices in studies of extractivism and postextractivism. The field of art theory on the other hand, has offered a number of texts that put forward insightful analyses of artwork addressing extraction, environmental devastation, and the climate crisis. However, an art theory perspective that does not engage firsthand with collective action remains limited, and fails to provide an account of the role, processes and politics of art in anti- and post-extractivist movements. Creating Worlds Otherwise offers the narratives that subaltern groups generate around extractivism, and how they develop, communicate, and mobilize these narratives through art and cultural practices. The book reports on a two-year research project into creative resistance to extractivism in Argentina, and builds on long-term engagement working on environmental justice projects and campaigns in Argentina and the UK. Creating Worlds Otherwise is structured according to the main themes of anti and post-extractivist movements: territoriality; ecofeminism and the ethics of care; human rights and the rights of nature; urban extractivism; sovereignty, autonomy and self-determination; and postextractivism and alternatives to development. It is an innovative contribution to the fields of Latin American studies, political ecology, cultural studies, and art theory, and addresses pressing questions regarding what post-extractivist worlds might look like as well as how such visions are put into practice.

Extractivism has increasingly become the ground on which activists and scholars in Latin America frame the dynamics of ecological devastation, accumulation of wealth, and erosion of rights. These maladies are the direct consequences of long-standing extraction-oriented economies, and more recently from the expansion of the extractive frontier and the implementation of new technologies in the extraction of fossil fuels, mining, and agriculture. But the fields of sociology, political ecology, anthropology, and geography have largely ignored the role of art and cultural practices in studies of extractivism and post-extractivism. The field of art theory, on the other hand, has offered a number of texts that put forward insightful analyses of artwork addressing extraction, environmental devastation, and the climate crisis. However, an art theory perspective that does not engage firsthand and in depth with collective action remains limited and fails to provide an account of the role, processes, and politics of art in anti- and post-extractivist movements. Creating Worlds Otherwise examines the narratives that subaltern groups generate around extractivism, and how they develop, communicate, and mobilize these narratives through art and cultural practices. It reports on a six-year project on creative resistance to extractivism in Argentina and builds on long-term engagement working on environmental justice projects and campaigns in Argentina and the UK. It is an innovative contribution to the fields of Latin American studies, political ecology, cultural studies, and art theory, and addresses pressing questions regarding what post-extractivist worlds might look like as well as how such visions are put into practice.