‘Man is by nature, a political animal’
A chasm between citizens and political institutions and political parties is growing. In one sense it is part of the effect of globalization and the nation-state crisis; however, it is also expressed and emphasized by the new, large-scale forms of urban development, which are socially segregating, environmentally unsustainable and politically dubious. If the city is both the producer of citizenship and the generator of innovation, it is therefore the soil in which democracy lives, progresses and responds to new challenges. Without the city, the place that maximizes exchanges between people, democracy loses its strength to create potential futures and promote current actions. The city is the past, present and future of democracy. Without shared visions and constant activity to construct the city that is built up and torn down every day, we accept the slow, steady degradation of democracy.
Bill Posters is best known for his heavy critiques of our all pervasive consumer culture and co-founder of the infamous Brandalism project. By combining the arts, social and politics in art practice and by engaging in guerilla warfare with consumerism and the dominance of private corporations within public space, Bill Posters is not just making political art, but making art politically. Influenced by Dada and the Situationist International’s tactics of detournement and simulation, Bill Posters’ art works are always Installed anonymously within the public realm as gifts to society. They often hijack and subvert the spaces traditionally associated with commodity exchange and therefore cannot be commercialised. Reproductions of previous public realm interventions are available to purchase online and all proceeds go directly to initiate new public realm installations.
Cultural Hijack, AA Gallery, London
Artaq // An international exhibition of public realm art, Espace Commines, Paris