Artivism

When combined with activism, art becomes artivist.
Artivism, or other neologisms that are close to it – activist art, culture jamming, ethical spectacle or tactical media –, as it is a relatively new concept, is still not seen in a consensual way by the arts and social sciences. Controversial, in its relationship between art and activism, often political, it finds itself in acts of resistance, subversion, social and political intervention. The aim is to change, resist, amplify, but also to reflect or raise awareness of situations or themes at a given time, consolidating itself as a social cause and demand and simultaneously as an artistic rupture. 

Digital Artivism
Digital art activities are associated by some authors with net art, referring to a variety of works of art made by computer, accessible online, created by artists using Internet browsers, codes or scripts, search engines, applications and other online tools. Net art dissolves the boundaries between art, design, political activism and communication, and the boundaries between the public and its creator, without control over authorship or who participates in it, a fact that, in itself, is already enough for be an activist. 

The objectives of current digital artivists do not differ much from those of the 20th century, who also sought to denounce social problems or inequalities. Modern artivist interventions use digital technological tools, new and unexpected forms of collective mobilization and activism. Among the innovative aspects is the use of equipment and digital media as crucial resources for political and civic participation. Cyberspace and the Internet are potential stages or arenas for protest actions and even conflict, but they can also be a tool at the service of social movements, in which information technologies become, themselves, cause and reason for social contestation. However, the Internet and digital media are not exactly intended to replace, but to complement more conventional practices.

With the evolution of social communication on the Internet, artivists began to use social media tools such as Facebook, Twitter, Instagram, Vine or even TikTok, but also web pages and blogs, as platforms for their activity and propagation of your message. Using it does not require particularly sophisticated technical skills, so artivists are able to reach not only other artivists or activists, but the general public who are interested in the subject. Many of the tactics and actions that were already used offline now have a version in online manifestations. The opposite also happens: some projects and activities are possible with public participation, first on the network and then on the streets. Eventually, even into the exhibition space and the museum, which can (should) also be an environment for reflection on various themes and causes, going beyond the exhibition of artefacts. From there you can move on to a bigger story, not necessarily ending. Like the one you try to 'count on' with theParallel project 3.