Norwegian Street Artist DOTDOTDOT Returns to the Streets for Nuart Festival

This year, Nuart Festival in Stavanger, Norway, welcomed a powerful comeback by DOTDOTDOT, one of Norway’s renowned street artists. Known for his thought-provoking and politically charged work, DOTDOTDOT marked his return with two significant pieces: a reimagined Statue of Liberty titled Liberty Warning the World and a tribute to hip-hop culture called Haring’s Beatbox. Through these works, the artist not only pays homage to history but also raises timely concerns about the state of democracy and social inclusion.

One of DOTDOTDOT’s pieces, Liberty Warning the World, is a reinterpretation of the Statue of Liberty. Originally designed by French sculptor Frédéric Auguste Bartholdi and gifted by France in 1886, the Statue of Liberty has long symbolized freedom, democracy, and a welcome to immigrants arriving in the United States. In the original, Lady Liberty holds a torch in her right hand and a tablet inscribed with the date of the U.S. Declaration of Independence in her left. Her left foot steps on broken chains, a symbol of the abolition of slavery.

DOTDOTDOT’s version for Nuart Festival, however, brings a sobering twist to this iconic figure. On the statue’s 138th anniversary, DOTDOTDOT’s Liberty Warning the World replaces the torch with a distress flare, casting a warning against rising xenophobia and anti-immigrant sentiment. With a timely nod to the upcoming election, this reimagined Liberty becomes a bold statement, urging reflection on the current political climate, especially as divisive rhetoric threatens democratic values and human rights.

DOTDOTDOT’s second piece, Haring’s Beatbox, honors the 50th anniversary of hip-hop in the U.S. and its 40th in Norway. Named after legendary American artist Keith Haring, whose work became an emblem of urban culture, the piece is a vivid reminder of hip-hop’s roots in the Hispanic and African American communities of the 1970s. Painted on an underpass by Norway’s fjords, this work is a nod to the immense cultural contributions of immigrant communities and the enduring impact of hip-hop on global culture.

Keith Haring, born in Reading, Pennsylvania, found his artistic voice in New York’s street scene and often used his art to address social issues. DOTDOTDOT’s Haring’s Beatbox captures the essence of Haring’s legacy and highlights how hip-hop, with its foundations in resilience and expression, transcends borders and cultures. It’s a celebration of diversity and unity, amplified through the Norwegian artist’s interpretation.

This year’s “Unauthorized” edition emphasizes unsanctioned works, where artists are encouraged to work on human-scale, unlicensed walls across the city. This approach aligns with Nuart’s mission to redefine art’s purpose in society and to question what art can be outside of institutional confines. For over two decades, Nuart has remained a volunteer-led, non-profit initiative, relying on the dedication of artists, activists, and art enthusiasts to make each year’s event a reality.

Martyn Reed, Nuart’s Founder and Director, has long championed the power of street art to inspire dialogue and encourage social reflection. Under his guidance, the festival has grown into a vital platform for artists like DOTDOTDOT to use their work as a voice for change, exploring complex social issues and engaging the public in new ways.

In 2024, with works like Liberty Warning the World and Haring’s Beatbox, Nuart Festival once again demonstrates how street art can provoke thought and spark conversation, reminding us of art’s capacity to shape and reflect society. As DOTDOTDOT’s pieces show, these works can serve as powerful commentaries on freedom, unity, and the urgent issues of our time.

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The post Norwegian Street Artist DOTDOTDOT Returns to the Streets for Nuart Festival first appeared on street art united states.
by Sami Wakim via street art united states

Norwegian Street Artist DOTDOTDOT Returns to the Streets for Nuart Festival

This year, Nuart Festival in Stavanger, Norway, welcomed a powerful comeback by DOTDOTDOT, one of Norway’s renowned street artists. Known for his thought-provoking and politically charged work, DOTDOTDOT marked his return with two significant pieces: a reimagined Statue of Liberty titled Liberty Warning the World and a tribute to hip-hop culture called Haring’s Beatbox. Through these works, the artist not only pays homage to history but also raises timely concerns about the state of democracy and social inclusion.

One of DOTDOTDOT’s pieces, Liberty Warning the World, is a reinterpretation of the Statue of Liberty. Originally designed by French sculptor Frédéric Auguste Bartholdi and gifted by France in 1886, the Statue of Liberty has long symbolized freedom, democracy, and a welcome to immigrants arriving in the United States. In the original, Lady Liberty holds a torch in her right hand and a tablet inscribed with the date of the U.S. Declaration of Independence in her left. Her left foot steps on broken chains, a symbol of the abolition of slavery.

DOTDOTDOT’s version for Nuart Festival, however, brings a sobering twist to this iconic figure. On the statue’s 138th anniversary, DOTDOTDOT’s Liberty Warning the World replaces the torch with a distress flare, casting a warning against rising xenophobia and anti-immigrant sentiment. With a timely nod to the upcoming election, this reimagined Liberty becomes a bold statement, urging reflection on the current political climate, especially as divisive rhetoric threatens democratic values and human rights.

DOTDOTDOT’s second piece, Haring’s Beatbox, honors the 50th anniversary of hip-hop in the U.S. and its 40th in Norway. Named after legendary American artist Keith Haring, whose work became an emblem of urban culture, the piece is a vivid reminder of hip-hop’s roots in the Hispanic and African American communities of the 1970s. Painted on an underpass by Norway’s fjords, this work is a nod to the immense cultural contributions of immigrant communities and the enduring impact of hip-hop on global culture.

Keith Haring, born in Reading, Pennsylvania, found his artistic voice in New York’s street scene and often used his art to address social issues. DOTDOTDOT’s Haring’s Beatbox captures the essence of Haring’s legacy and highlights how hip-hop, with its foundations in resilience and expression, transcends borders and cultures. It’s a celebration of diversity and unity, amplified through the Norwegian artist’s interpretation.

This year’s “Unauthorized” edition emphasizes unsanctioned works, where artists are encouraged to work on human-scale, unlicensed walls across the city. This approach aligns with Nuart’s mission to redefine art’s purpose in society and to question what art can be outside of institutional confines. For over two decades, Nuart has remained a volunteer-led, non-profit initiative, relying on the dedication of artists, activists, and art enthusiasts to make each year’s event a reality.

Martyn Reed, Nuart’s Founder and Director, has long championed the power of street art to inspire dialogue and encourage social reflection. Under his guidance, the festival has grown into a vital platform for artists like DOTDOTDOT to use their work as a voice for change, exploring complex social issues and engaging the public in new ways.

In 2024, with works like Liberty Warning the World and Haring’s Beatbox, Nuart Festival once again demonstrates how street art can provoke thought and spark conversation, reminding us of art’s capacity to shape and reflect society. As DOTDOTDOT’s pieces show, these works can serve as powerful commentaries on freedom, unity, and the urgent issues of our time.

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The post Norwegian Street Artist DOTDOTDOT Returns to the Streets for Nuart Festival first appeared on street art united states.
by Sami Wakim via street art united states

Western Hypocrisy And The Hollow Ideals of Human Rights and Accountability

For decades, international bodies and Western powers have paraded lofty ideals of human rights, justice, and accountability—concepts they insist are the bedrock of a global order. But these principles have shown themselves to be hollow, reserved only for those deemed worthy by the West, rarely applied to the oppressed. For Palestinians, these principles are a mirage, a weaponized hypocrisy that has served only to protect the powerful and keep them silent.

The so-called “rules-based order” promoted by the West is little more than a charade designed to prop up Western interests and keep other nations in line. This system has been carefully crafted to give the appearance of equality, yet it is wielded selectively, rarely, if ever, offering protection or justice to those who challenge its creators. It’s painfully clear now that these institutions were never meant for the protection of all, only the few. The rule of law is a farce, a cynical pretense to ensure that those with influence are shielded while others are abandoned and discarded. When the voices of the Palestinians go unheard, the world’s commitment to human rights and accountability stands exposed as a lie.

Today’s global order is a jungle, a brazen playground where power rules, and those who have it do as they wish. Palestinians understand this reality better than anyone. The institutions that claim to stand for justice and human rights have failed them repeatedly, offering up only empty resolutions and meaningless words. While the world looks away, Palestinians bear witness to the hypocrisy of a global order that preaches morality yet systematically ignores its responsibilities. Their abandonment speaks volumes about the true priorities of Western powers—justice and accountability only exist when convenient, and human rights are merely slogans, discarded when they become inconvenient.

This growing disregard for international norms isn’t a quiet shift; it’s an overt dismantling of even the pretense of fairness. Palestinians are forced to come to terms with a world where their rights mean nothing to those in power. They are a reminder to all oppressed people that, in this new order, justice is a myth, and solidarity among the marginalized is all that remains when institutions fail.

The world must see the Palestinian struggle for what it is: a damning indictment of the very structures we claim uphold justice. The hypocrisy of the West is in plain sight, and if there is any hope of restoring credibility to international systems, then holding even the most powerful accountable is no longer optional—it is essential. Otherwise, we will watch the erosion of any remaining belief in justice, and the Palestinians’ experience will be just one example in a world where only the strong have rights.

The post Western Hypocrisy And The Hollow Ideals of Human Rights and Accountability first appeared on street art united states.
by Sami Wakim via street art united states

Western Hypocrisy And The Hollow Ideals of Human Rights and Accountability

For decades, international bodies and Western powers have paraded lofty ideals of human rights, justice, and accountability—concepts they insist are the bedrock of a global order. But these principles have shown themselves to be hollow, reserved only for those deemed worthy by the West, rarely applied to the oppressed. For Palestinians, these principles are a mirage, a weaponized hypocrisy that has served only to protect the powerful and keep them silent.

The so-called “rules-based order” promoted by the West is little more than a charade designed to prop up Western interests and keep other nations in line. This system has been carefully crafted to give the appearance of equality, yet it is wielded selectively, rarely, if ever, offering protection or justice to those who challenge its creators. It’s painfully clear now that these institutions were never meant for the protection of all, only the few. The rule of law is a farce, a cynical pretense to ensure that those with influence are shielded while others are abandoned and discarded. When the voices of the Palestinians go unheard, the world’s commitment to human rights and accountability stands exposed as a lie.

Today’s global order is a jungle, a brazen playground where power rules, and those who have it do as they wish. Palestinians understand this reality better than anyone. The institutions that claim to stand for justice and human rights have failed them repeatedly, offering up only empty resolutions and meaningless words. While the world looks away, Palestinians bear witness to the hypocrisy of a global order that preaches morality yet systematically ignores its responsibilities. Their abandonment speaks volumes about the true priorities of Western powers—justice and accountability only exist when convenient, and human rights are merely slogans, discarded when they become inconvenient.

This growing disregard for international norms isn’t a quiet shift; it’s an overt dismantling of even the pretense of fairness. Palestinians are forced to come to terms with a world where their rights mean nothing to those in power. They are a reminder to all oppressed people that, in this new order, justice is a myth, and solidarity among the marginalized is all that remains when institutions fail.

The world must see the Palestinian struggle for what it is: a damning indictment of the very structures we claim uphold justice. The hypocrisy of the West is in plain sight, and if there is any hope of restoring credibility to international systems, then holding even the most powerful accountable is no longer optional—it is essential. Otherwise, we will watch the erosion of any remaining belief in justice, and the Palestinians’ experience will be just one example in a world where only the strong have rights.

The post Western Hypocrisy And The Hollow Ideals of Human Rights and Accountability first appeared on street art united states.
by Sami Wakim via street art united states

Media Bias in the Israeli War on Gaza and Lebanon

The use of language by Western media in reporting on the Israeli-Palestinian conflict reveals significant biases, shaping public perceptions in favor of Israel while dehumanizing Palestinians. A comprehensive analysis of major media outlets, such as The New York Times, The Washington Post, and The Los Angeles Times, illustrates how linguistic framing drastically differs when reporting on Israeli versus Palestinian deaths.

A study by The Intercept shows that terms like “slaughter,” “massacre,” and “horrific” are frequently used to describe the deaths of Israelis, particularly in the aftermath of the October 7 attacks, while the killings of Palestinians are often downplayed with passive language. This manipulation of language creates an implicit hierarchy of victimhood, where Israeli lives are deemed more tragic, and Palestinian deaths are diminished or cast into doubt by qualifiers such as “reportedly” or “according to Hamas.”

A glaring example of this bias is the way media outlets cover the deaths of four 19-year-old Israeli soldiers killed in a Hezbollah drone strike. Reports describe these soldiers as “teenage victims” and frame their deaths as an unjust tragedy, with Sky News solemnly reciting their names and emphasizing their age to elicit sympathy. By contrast, the tragic death of Sha’ban al-Dalou, a 19-year-old Palestinian civilian burned alive in a hospital bed during an Israeli airstrike, is almost entirely ignored by mainstream Western outlets. In the few reports that do mention him, he is anonymized as “a man” or “a person,” without the same level of humanity and emotional resonance granted to the Israeli soldiers.

This disparity reveals a systemic bias in how the Western media frames the deaths of Israelis and Palestinians. Israeli soldiers, even in active combat, are portrayed as innocent victims, while Palestinians, even when they are civilians, are depicted as faceless statistics. This media practice aligns with the political interests of Western powers, particularly the US and its allies, who have a vested interest in supporting Israel.

The portrayal of Israel as a perpetual victim of unprovoked aggression, while Palestinians are viewed as either perpetrators or collateral damage, shapes the narrative of the conflict. It also dehumanizes Palestinians, reducing their suffering to a mere footnote in the broader geopolitical narrative.

Lina Mounzer, a Lebanese writer, poignantly captures this sentiment: “Ask any Arab what the most painful realization of the last year has been, and it is this: that we have discovered the extent of our dehumanization to such a degree that it’s impossible to function in the world in the same way.”

The Western media’s propagandistic use of language reinforces this dehumanization, ensuring that Palestinian suffering remains invisible while Israeli deaths are foregrounded as tragedies. As the conflict continues, the need for balanced and humane reporting grows ever more urgent.

The post Media Bias in the Israeli War on Gaza and Lebanon first appeared on street art united states.
by Sami Wakim via street art united states

Media Bias in the Israeli War on Gaza and Lebanon

The use of language by Western media in reporting on the Israeli-Palestinian conflict reveals significant biases, shaping public perceptions in favor of Israel while dehumanizing Palestinians. A comprehensive analysis of major media outlets, such as The New York Times, The Washington Post, and The Los Angeles Times, illustrates how linguistic framing drastically differs when reporting on Israeli versus Palestinian deaths.

A study by The Intercept shows that terms like “slaughter,” “massacre,” and “horrific” are frequently used to describe the deaths of Israelis, particularly in the aftermath of the October 7 attacks, while the killings of Palestinians are often downplayed with passive language. This manipulation of language creates an implicit hierarchy of victimhood, where Israeli lives are deemed more tragic, and Palestinian deaths are diminished or cast into doubt by qualifiers such as “reportedly” or “according to Hamas.”

A glaring example of this bias is the way media outlets cover the deaths of four 19-year-old Israeli soldiers killed in a Hezbollah drone strike. Reports describe these soldiers as “teenage victims” and frame their deaths as an unjust tragedy, with Sky News solemnly reciting their names and emphasizing their age to elicit sympathy. By contrast, the tragic death of Sha’ban al-Dalou, a 19-year-old Palestinian civilian burned alive in a hospital bed during an Israeli airstrike, is almost entirely ignored by mainstream Western outlets. In the few reports that do mention him, he is anonymized as “a man” or “a person,” without the same level of humanity and emotional resonance granted to the Israeli soldiers.

This disparity reveals a systemic bias in how the Western media frames the deaths of Israelis and Palestinians. Israeli soldiers, even in active combat, are portrayed as innocent victims, while Palestinians, even when they are civilians, are depicted as faceless statistics. This media practice aligns with the political interests of Western powers, particularly the US and its allies, who have a vested interest in supporting Israel.

The portrayal of Israel as a perpetual victim of unprovoked aggression, while Palestinians are viewed as either perpetrators or collateral damage, shapes the narrative of the conflict. It also dehumanizes Palestinians, reducing their suffering to a mere footnote in the broader geopolitical narrative.

Lina Mounzer, a Lebanese writer, poignantly captures this sentiment: “Ask any Arab what the most painful realization of the last year has been, and it is this: that we have discovered the extent of our dehumanization to such a degree that it’s impossible to function in the world in the same way.”

The Western media’s propagandistic use of language reinforces this dehumanization, ensuring that Palestinian suffering remains invisible while Israeli deaths are foregrounded as tragedies. As the conflict continues, the need for balanced and humane reporting grows ever more urgent.

The post Media Bias in the Israeli War on Gaza and Lebanon first appeared on street art united states.
by Sami Wakim via street art united states

Mural Tribute to Palestinian Journalists Sparks Debate in London

A tribute mural dedicated to Palestinian journalists in Ilford, East London, has stirred both admiration and controversy. The artwork, painted in March by three artists from the collective Creative Debuts, honors four Palestinian reporters and photographers—Mohamed Al Masri, Ali Jadallah, Hind Khoudary, and Abdulhakim Abu Riash. The scene shows these journalists standing amidst the rubble in Gaza, a recreation of a photograph taken by Suhail Nassar.

The mural, titled “Heroes of Palestine,” is seen by some as a powerful statement on the importance of journalism in conflict zones, especially during the ongoing Israel-Gaza war. Alia Shaikh, the homeowner who commissioned the piece, expressed a deep sense of helplessness over the situation in Gaza. “I think it’s important for young children to have good role models,” she said. For her, the journalists are true heroes, risking their lives to ensure the world knows what is happening on the ground. “Without them, we’d have no idea what’s happening,” Shaikh added.

Along with the mural, a nearby message that reads “All eyes on Gaza” over a painted Palestinian flag further highlights the intention to draw attention to the region’s struggles. The tribute aims to honor the resilience of journalists in Gaza, a place where over 100 reporters have been killed in the past year alone.

However, the mural has also attracted criticism. An Israeli legal support group has voiced concerns, suggesting that such displays could exacerbate tensions in London’s diverse, multi-ethnic communities. Given the sensitivities surrounding the Israel-Gaza conflict, the group argued that the mural might deepen divisions instead of fostering understanding.

The ongoing conflict has been particularly dangerous for journalists, who have often been caught in the crossfire. Reports from advocacy groups like Reporters Without Borders highlight the severe dangers Palestinian journalists face. Many have been attacked, injured, or killed, and international calls to protect these reporters are growing louder. According to Reporters Without Borders, the Israel Defense Forces are systematically silencing journalists who report on the realities of Gaza.

The mural stands as a reminder of the vital role these journalists play in documenting the truth, often at great personal risk. The international community is being urged to step up its efforts to protect Palestinian journalists and open Gaza to greater media access.

The mural, while seen as a tribute by some, underscores a larger debate about how art reflects and influences public discourse on sensitive geopolitical issues. The portrayal of Palestinian journalists as “heroes” has triggered opposing responses. Supporters see the mural as a celebration of truth-tellers, bringing much-needed attention to the perils faced by Gaza’s reporters. On the other hand, critics worry that the glorification of certain narratives could fuel existing ethnic and political tensions in London, a city with a highly diverse population.

This debate brings to the surface larger questions: Can art serve as a bridge between divided communities, or does it risk reinforcing existing divides? The mural’s future remains uncertain, but it has undoubtedly sparked important conversations about freedom of expression, the role of journalism in conflict zones, and the responsibilities that come with creating public art in a multicultural society.

In a world where journalists face increasing threats, the mural not only highlights the ongoing crisis in Gaza but also the broader struggle for press freedom. The tribute to the “Heroes of Palestine” is a reminder of the risks reporters take in pursuit of truth, and the importance of protecting their right to do so. Whether this message will unify or divide remains to be seen, but its impact on the conversation is undeniable.

---

 

The post Mural Tribute to Palestinian Journalists Sparks Debate in London first appeared on street art united states.
by Sami Wakim via street art united states

Mural Tribute to Palestinian Journalists Sparks Debate in London

A tribute mural dedicated to Palestinian journalists in Ilford, East London, has stirred both admiration and controversy. The artwork, painted in March by three artists from the collective Creative Debuts, honors four Palestinian reporters and photographers—Mohamed Al Masri, Ali Jadallah, Hind Khoudary, and Abdulhakim Abu Riash. The scene shows these journalists standing amidst the rubble in Gaza, a recreation of a photograph taken by Suhail Nassar.

The mural, titled “Heroes of Palestine,” is seen by some as a powerful statement on the importance of journalism in conflict zones, especially during the ongoing Israel-Gaza war. Alia Shaikh, the homeowner who commissioned the piece, expressed a deep sense of helplessness over the situation in Gaza. “I think it’s important for young children to have good role models,” she said. For her, the journalists are true heroes, risking their lives to ensure the world knows what is happening on the ground. “Without them, we’d have no idea what’s happening,” Shaikh added.

Along with the mural, a nearby message that reads “All eyes on Gaza” over a painted Palestinian flag further highlights the intention to draw attention to the region’s struggles. The tribute aims to honor the resilience of journalists in Gaza, a place where over 100 reporters have been killed in the past year alone.

However, the mural has also attracted criticism. An Israeli legal support group has voiced concerns, suggesting that such displays could exacerbate tensions in London’s diverse, multi-ethnic communities. Given the sensitivities surrounding the Israel-Gaza conflict, the group argued that the mural might deepen divisions instead of fostering understanding.

The ongoing conflict has been particularly dangerous for journalists, who have often been caught in the crossfire. Reports from advocacy groups like Reporters Without Borders highlight the severe dangers Palestinian journalists face. Many have been attacked, injured, or killed, and international calls to protect these reporters are growing louder. According to Reporters Without Borders, the Israel Defense Forces are systematically silencing journalists who report on the realities of Gaza.

The mural stands as a reminder of the vital role these journalists play in documenting the truth, often at great personal risk. The international community is being urged to step up its efforts to protect Palestinian journalists and open Gaza to greater media access.

The mural, while seen as a tribute by some, underscores a larger debate about how art reflects and influences public discourse on sensitive geopolitical issues. The portrayal of Palestinian journalists as “heroes” has triggered opposing responses. Supporters see the mural as a celebration of truth-tellers, bringing much-needed attention to the perils faced by Gaza’s reporters. On the other hand, critics worry that the glorification of certain narratives could fuel existing ethnic and political tensions in London, a city with a highly diverse population.

This debate brings to the surface larger questions: Can art serve as a bridge between divided communities, or does it risk reinforcing existing divides? The mural’s future remains uncertain, but it has undoubtedly sparked important conversations about freedom of expression, the role of journalism in conflict zones, and the responsibilities that come with creating public art in a multicultural society.

In a world where journalists face increasing threats, the mural not only highlights the ongoing crisis in Gaza but also the broader struggle for press freedom. The tribute to the “Heroes of Palestine” is a reminder of the risks reporters take in pursuit of truth, and the importance of protecting their right to do so. Whether this message will unify or divide remains to be seen, but its impact on the conversation is undeniable.

---

 

The post Mural Tribute to Palestinian Journalists Sparks Debate in London first appeared on street art united states.
by Sami Wakim via street art united states

Where were you when the genocide happened?

A hypothetical video set in the year 2040 imagines a world commemorating the 16th anniversary of the horrific genocide that took place on October 7, 2023, where thousands of Palestinians were brutally killed in an atrocity that shocked the world. The video envisions a global day of remembrance, where nations unite in grief, solidarity, and reflection over a tragedy that changed the course of history.

In this imagined future, commemorations are held across the globe, from major cities to small towns. Memorial events bring together people of all walks of life, who gather to honor the victims and reflect on the lessons the world must learn from this dark chapter. Vigils are held in public squares, where the names of those lost are recited, and candles illuminate the night in their memory. Museums and educational institutions hold exhibits and talks to recount the atrocities of 2023, ensuring the stories are preserved for future generations.

A striking moment in the video shows young children sitting alongside their families, watching powerful scenes from the genocide. The footage, though painful, is part of the collective memory that the world has vowed to never forget. As the children observe the scenes of destruction and sorrow, they turn to their parents and grandparents, asking a poignant question: “Where were you when the genocide happened?”

This simple question reverberates deeply. It prompts the older generation to recall the trauma, the helplessness, and the outrage they felt in 2023. Some recount their roles in protesting, spreading awareness, or offering aid, while others reflect on their silence or lack of understanding at the time. The video highlights how this question, passed down from generation to generation, keeps the memory of the genocide alive, making sure that the world never becomes complacent in the face of such atrocities again.

In this envisioned future, the act of remembrance serves not only to mourn the victims but also to educate and galvanize action. Teachers in classrooms around the world discuss the importance of human rights and the consequences of inaction in the face of oppression. Leaders use this day to reiterate their commitments to peace, justice, and the protection of vulnerable populations. The day has become a solemn reminder of the horrors of unchecked violence and hatred, as well as a call to prevent history from repeating itself.

The hypothetical video conveys a powerful message about the importance of collective memory and the role of future generations in carrying forward the stories of the past. By keeping the memory of the October 7, 2023 genocide alive, this imagined future underscores the hope that the world has learned from its mistakes, and that the pain of the past can fuel a more just and peaceful tomorrow.

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The post Where were you when the genocide happened? first appeared on street art united states.
by Sami Wakim via street art united states

Where were you when the genocide happened?

A hypothetical video set in the year 2040 imagines a world commemorating the 16th anniversary of the horrific genocide that took place on October 7, 2023, where thousands of Palestinians were brutally killed in an atrocity that shocked the world. The video envisions a global day of remembrance, where nations unite in grief, solidarity, and reflection over a tragedy that changed the course of history.

In this imagined future, commemorations are held across the globe, from major cities to small towns. Memorial events bring together people of all walks of life, who gather to honor the victims and reflect on the lessons the world must learn from this dark chapter. Vigils are held in public squares, where the names of those lost are recited, and candles illuminate the night in their memory. Museums and educational institutions hold exhibits and talks to recount the atrocities of 2023, ensuring the stories are preserved for future generations.

A striking moment in the video shows young children sitting alongside their families, watching powerful scenes from the genocide. The footage, though painful, is part of the collective memory that the world has vowed to never forget. As the children observe the scenes of destruction and sorrow, they turn to their parents and grandparents, asking a poignant question: “Where were you when the genocide happened?”

This simple question reverberates deeply. It prompts the older generation to recall the trauma, the helplessness, and the outrage they felt in 2023. Some recount their roles in protesting, spreading awareness, or offering aid, while others reflect on their silence or lack of understanding at the time. The video highlights how this question, passed down from generation to generation, keeps the memory of the genocide alive, making sure that the world never becomes complacent in the face of such atrocities again.

In this envisioned future, the act of remembrance serves not only to mourn the victims but also to educate and galvanize action. Teachers in classrooms around the world discuss the importance of human rights and the consequences of inaction in the face of oppression. Leaders use this day to reiterate their commitments to peace, justice, and the protection of vulnerable populations. The day has become a solemn reminder of the horrors of unchecked violence and hatred, as well as a call to prevent history from repeating itself.

The hypothetical video conveys a powerful message about the importance of collective memory and the role of future generations in carrying forward the stories of the past. By keeping the memory of the October 7, 2023 genocide alive, this imagined future underscores the hope that the world has learned from its mistakes, and that the pain of the past can fuel a more just and peaceful tomorrow.

---

 

The post Where were you when the genocide happened? first appeared on street art united states.
by Sami Wakim via street art united states

Shepard Fairey Unveils “Rise Above Earth Justice” Mural in London, Promoting Climate Awareness

In alignment with the 79th session of the United Nations General Assembly’s call for greater international cooperation, the world-renowned American artist Shepard Fairey has created a thought-provoking mural in London. Known for his impactful works addressing social and environmental justice, Fairey’s latest creation aims to inspire conversation about climate change and environmental stewardship. His mural, titled “Rise Above Earth Justice,” stands as a visual call to action, reminding viewers of the urgent need for collective and individual responsibility in protecting the planet.

Supported by the Ford Foundation and the U.S. Embassy in London, under the guidance of Ambassador Jane Hartley, Fairey’s mural is part of a broader initiative to amplify climate awareness. The Ford Foundation’s commitment to artist-driven projects that engage communities in meaningful ways is evident in this collaboration. Fairey’s mural exemplifies how art can transcend borders, uniting people across cultures to address global challenges like climate change.

Fairey’s 15-meter-high mural, located on Anlaby House in London, features a bold, stylized flower flanked by the scales of justice. The flower symbolizes nature’s fragility and resilience, while the scales represent the balance humanity must strike to achieve environmental justice. The design was inspired by a series of workshops held in 2024 with London youth, facilitated by organizations such as Global Generation and Refugee Community Kitchen (RCK). These sessions explored critical issues such as air pollution and the importance of access to nature, topics that are central to the mural’s message.

“This mural is titled ‘Rise Above Earth Justice,’ and it uses symbols to convey the message that it is within our power to rise above the injustice of environmental irresponsibility and push for a healthier planet,” said Fairey. “I believe that our individual and collective actions will dramatically impact current and future generations, be it for the better or for the worse. It is our responsibility as the citizens of Earth to protect it.”

This powerful piece is part of the 2024 London Mural Festival, produced by Migrate Art founders Simon Butler and Charlotte Pyatt. Migrate Art has raised over £2.1 million over the last decade through creative projects supporting displaced, indigenous, and homeless communities across the globe. From refugee camps in France and Iraq to the Xingu people in the Amazon and London’s homeless population, Migrate Art has championed the use of art to foster community and drive social change.

Butler, reflecting on his longstanding collaboration with Fairey, praised his deep connection to the local community. “Having met Shepard 15 years ago and worked with him many times, I can’t think of a better artist to engage with the local community and share a message of hope for the future of the world,” he said. “The support provided by the U.S. Embassy should be seen as a shining example for others to follow.”

Ambassador Jane Hartley emphasized the role of art as a tool for diplomacy and mutual understanding. “Artists like Shepard Fairey are, in a sense, the ambassadors of humanity,” Hartley noted. “Shepard’s work transcends borders, democratizes access to art, and intends to make the world a better, more just place. I hope the new mural will inspire all who view it and provoke deeper reflection on our shared role as stewards of the Earth.”

The mural serves as a visual reminder of the pressing need for climate justice and the potential of art to galvanize action.

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The post Shepard Fairey Unveils “Rise Above Earth Justice” Mural in London, Promoting Climate Awareness first appeared on street art united states.
by Sami Wakim via street art united states

Shepard Fairey Unveils “Rise Above Earth Justice” Mural in London, Promoting Climate Awareness

In alignment with the 79th session of the United Nations General Assembly’s call for greater international cooperation, the world-renowned American artist Shepard Fairey has created a thought-provoking mural in London. Known for his impactful works addressing social and environmental justice, Fairey’s latest creation aims to inspire conversation about climate change and environmental stewardship. His mural, titled “Rise Above Earth Justice,” stands as a visual call to action, reminding viewers of the urgent need for collective and individual responsibility in protecting the planet.

Supported by the Ford Foundation and the U.S. Embassy in London, under the guidance of Ambassador Jane Hartley, Fairey’s mural is part of a broader initiative to amplify climate awareness. The Ford Foundation’s commitment to artist-driven projects that engage communities in meaningful ways is evident in this collaboration. Fairey’s mural exemplifies how art can transcend borders, uniting people across cultures to address global challenges like climate change.

Fairey’s 15-meter-high mural, located on Anlaby House in London, features a bold, stylized flower flanked by the scales of justice. The flower symbolizes nature’s fragility and resilience, while the scales represent the balance humanity must strike to achieve environmental justice. The design was inspired by a series of workshops held in 2024 with London youth, facilitated by organizations such as Global Generation and Refugee Community Kitchen (RCK). These sessions explored critical issues such as air pollution and the importance of access to nature, topics that are central to the mural’s message.

“This mural is titled ‘Rise Above Earth Justice,’ and it uses symbols to convey the message that it is within our power to rise above the injustice of environmental irresponsibility and push for a healthier planet,” said Fairey. “I believe that our individual and collective actions will dramatically impact current and future generations, be it for the better or for the worse. It is our responsibility as the citizens of Earth to protect it.”

This powerful piece is part of the 2024 London Mural Festival, produced by Migrate Art founders Simon Butler and Charlotte Pyatt. Migrate Art has raised over £2.1 million over the last decade through creative projects supporting displaced, indigenous, and homeless communities across the globe. From refugee camps in France and Iraq to the Xingu people in the Amazon and London’s homeless population, Migrate Art has championed the use of art to foster community and drive social change.

Butler, reflecting on his longstanding collaboration with Fairey, praised his deep connection to the local community. “Having met Shepard 15 years ago and worked with him many times, I can’t think of a better artist to engage with the local community and share a message of hope for the future of the world,” he said. “The support provided by the U.S. Embassy should be seen as a shining example for others to follow.”

Ambassador Jane Hartley emphasized the role of art as a tool for diplomacy and mutual understanding. “Artists like Shepard Fairey are, in a sense, the ambassadors of humanity,” Hartley noted. “Shepard’s work transcends borders, democratizes access to art, and intends to make the world a better, more just place. I hope the new mural will inspire all who view it and provoke deeper reflection on our shared role as stewards of the Earth.”

The mural serves as a visual reminder of the pressing need for climate justice and the potential of art to galvanize action.

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The post Shepard Fairey Unveils “Rise Above Earth Justice” Mural in London, Promoting Climate Awareness first appeared on street art united states.
by Sami Wakim via street art united states

The Double Standard of “Self-Defense”: Whose Rights Are We Acknowledging?

The phrase “Israel has the right to defend itself” is one we frequently encounter in political discourse, especially in the context of the Israeli-Palestinian conflict. This assertion is often voiced by governments, international organizations, and media outlets following instances of violence or military actions. The sentiment implies a natural and unquestionable right for a nation to protect its citizens and sovereignty, which, on the surface, is universally acceptable.

However, there’s a glaring omission in these conversations: we rarely hear similar proclamations about the right of Palestinians, Lebanese, Syrians, or Yemenis to defend themselves. This raises critical questions about whose rights are being recognized and why others are being disregarded. Are these people not worthy of the same acknowledgment?

The idea of “self-defense” in international relations is enshrined in Article 51 of the United Nations Charter, which allows countries to defend themselves if attacked. In theory, this right applies equally to all nations and peoples. Yet, when it comes to the Middle East, this principle often seems selective. Israel’s right to defend itself is almost universally affirmed, while the rights of other populations, particularly Palestinians, are often overshadowed, ignored, or dismissed.

In Gaza, for example, when Palestinians react to decades of occupation, military blockades, and recurrent airstrikes, their resistance is frequently framed as terrorism rather than legitimate self-defense. Similarly, in Lebanon, Hezbollah’s actions, despite arising in a context of resistance to Israeli incursions, are often condemned outright. Rarely does the international community consider whether these responses might also stem from a fundamental right to defend one’s home, land, and people.

The disparity in rhetoric points to an underlying issue of dehumanization. When we fail to recognize the right of Palestinians, Lebanese, Syrians, Yemenis, and others to defend themselves, we imply that their lives and well-being are somehow less valuable. The message becomes clear: certain populations are seen as deserving of protection, while others are not. This unequal treatment perpetuates cycles of violence, as it signals to oppressed groups that their suffering is not recognized, much less validated.

This dehumanization can also be seen in the media coverage of conflicts. The deaths of civilians in Gaza, Lebanon, or Yemen are often presented as unfortunate but inevitable outcomes of broader geopolitical struggles, rather than tragedies in their own right. In contrast, attacks on Israeli civilians often receive more immediate and emotionally resonant coverage, reinforcing the idea that some lives are more newsworthy, or even more grievable, than others.

The right to self-defense should be universal, applicable to all peoples regardless of their geopolitical standing or the power of their adversaries. Palestinians, Lebanese, Syrians, Yemenis, and others in conflict zones have the same human rights as anyone else. Acknowledging their right to defend themselves is not a justification for violence; it is a recognition of their humanity and their right to exist in safety and dignity.

The international community and media must reevaluate how they frame these conflicts, moving away from one-sided narratives that reinforce inequality. Justice and peace can only be achieved when all lives are valued equally, and when all people are afforded the same rights—including the right to defend themselves against aggression.

In the end, the question is not whether Israel has the right to defend itself—because it does—but whether we are willing to extend that same right to others. If we truly believe in human rights and international law, we must be consistent in our application of those principles. Otherwise, we risk perpetuating a dangerous double standard, one that continues to fuel resentment, violence, and instability.

The post The Double Standard of “Self-Defense”: Whose Rights Are We Acknowledging? first appeared on street art united states.
by Sami Wakim via street art united states

The Double Standard of “Self-Defense”: Whose Rights Are We Acknowledging?

The phrase “Israel has the right to defend itself” is one we frequently encounter in political discourse, especially in the context of the Israeli-Palestinian conflict. This assertion is often voiced by governments, international organizations, and media outlets following instances of violence or military actions. The sentiment implies a natural and unquestionable right for a nation to protect its citizens and sovereignty, which, on the surface, is universally acceptable.

However, there’s a glaring omission in these conversations: we rarely hear similar proclamations about the right of Palestinians, Lebanese, Syrians, or Yemenis to defend themselves. This raises critical questions about whose rights are being recognized and why others are being disregarded. Are these people not worthy of the same acknowledgment?

The idea of “self-defense” in international relations is enshrined in Article 51 of the United Nations Charter, which allows countries to defend themselves if attacked. In theory, this right applies equally to all nations and peoples. Yet, when it comes to the Middle East, this principle often seems selective. Israel’s right to defend itself is almost universally affirmed, while the rights of other populations, particularly Palestinians, are often overshadowed, ignored, or dismissed.

In Gaza, for example, when Palestinians react to decades of occupation, military blockades, and recurrent airstrikes, their resistance is frequently framed as terrorism rather than legitimate self-defense. Similarly, in Lebanon, Hezbollah’s actions, despite arising in a context of resistance to Israeli incursions, are often condemned outright. Rarely does the international community consider whether these responses might also stem from a fundamental right to defend one’s home, land, and people.

The disparity in rhetoric points to an underlying issue of dehumanization. When we fail to recognize the right of Palestinians, Lebanese, Syrians, Yemenis, and others to defend themselves, we imply that their lives and well-being are somehow less valuable. The message becomes clear: certain populations are seen as deserving of protection, while others are not. This unequal treatment perpetuates cycles of violence, as it signals to oppressed groups that their suffering is not recognized, much less validated.

This dehumanization can also be seen in the media coverage of conflicts. The deaths of civilians in Gaza, Lebanon, or Yemen are often presented as unfortunate but inevitable outcomes of broader geopolitical struggles, rather than tragedies in their own right. In contrast, attacks on Israeli civilians often receive more immediate and emotionally resonant coverage, reinforcing the idea that some lives are more newsworthy, or even more grievable, than others.

The right to self-defense should be universal, applicable to all peoples regardless of their geopolitical standing or the power of their adversaries. Palestinians, Lebanese, Syrians, Yemenis, and others in conflict zones have the same human rights as anyone else. Acknowledging their right to defend themselves is not a justification for violence; it is a recognition of their humanity and their right to exist in safety and dignity.

The international community and media must reevaluate how they frame these conflicts, moving away from one-sided narratives that reinforce inequality. Justice and peace can only be achieved when all lives are valued equally, and when all people are afforded the same rights—including the right to defend themselves against aggression.

In the end, the question is not whether Israel has the right to defend itself—because it does—but whether we are willing to extend that same right to others. If we truly believe in human rights and international law, we must be consistent in our application of those principles. Otherwise, we risk perpetuating a dangerous double standard, one that continues to fuel resentment, violence, and instability.

The post The Double Standard of “Self-Defense”: Whose Rights Are We Acknowledging? first appeared on street art united states.
by Sami Wakim via street art united states

Apples, Clogs, and Pottery: The Parees Festival Celebrates Asturian Identity

The Parees Festival, a renowned urban art event in Oviedo, Spain, has once again celebrated Asturian culture and heritage in its seventh edition. This year, three new murals have been added to the city’s streets, bringing the total number of works to 40. These murals, created by local, national, and international artists, highlight symbols deeply rooted in Asturias’ cultural identity—Faro pottery, the traditional clog known as the madreña, and the apple, a staple of the region’s agriculture.

Organized by the Oviedo Municipal Foundation of Culture, the Parees Festival is more than just an exhibition of urban art. It stands as a tribute to Asturias’ rich history, encouraging an artistic dialogue between the community and the creators. This edition featured the artistic talents of María Peña (Mapecoo) and Marat ‘Morik’ Danilyan, whose works have brought traditional Asturian symbols to life.

Eduard Crespo, the director of the festival, highlighted the significance of these murals, stating, “Parees is not just an encounter with urban art; it is a celebration of our roots, a window to the past, and a projection towards the future of Asturias. This year, with murals dedicated to such emblematic symbols as the madreña, Faro pottery, and the Asturian apple, we have left a visual mark that reflects our cultural heritage.”

Asturias is famous for its apple orchards, but this traditional crop faces an uncertain future in the modern world. María Peña (Mapecoo) has explored this issue in her mural, which reflects on the challenges of preserving the Asturian apple with Denomination of Origin status. Her artwork contrasts local apples with elements of the digital age, sparking contemplation on how this essential crop can survive in a rapidly changing world.

Marat ‘Morik’ Danilyan has paid tribute to the ancient pottery of Faro, a tradition that has survived in Asturias for over a thousand years. His mural, located on Luis Álvarez Fueyo Street, captures the essence of Faro pottery and underscores the importance of preserving this cultural heritage. It serves as a reminder of the deep historical roots that still shape the region today.

In addition to his Faro pottery mural, Morik also created a work dedicated to the madreña, a wooden clog traditionally worn by Asturians. This mural, found on the same street, celebrates the craftsmanship involved in creating the madreña while addressing the broader issue of generational change. With fewer artisans taking up traditional trades, Morik’s mural is both a tribute and a call to preserve these skills before they disappear.

With these new additions, the Parees Festival has expanded Oviedo’s mural legacy, which now boasts 40 works. Over the past seven editions, artists from various regions and countries have contributed to this collection, enriching the city’s artistic and cultural landscape. These murals not only reflect Asturias’ identity but also engage with global artistic movements.

In addition to the mural installations, the 2024 edition of Parees has offered a series of workshops, including silkscreen printing, fanzine creation, and muralism, open to families and individuals alike. One of the festival’s most popular events, the “Beyond the Mural” guided tour, continues to draw large crowds, offering participants a deeper understanding of the artworks and their cultural significance.

Through its vibrant and participatory approach, the Parees Festival continues to position Oviedo as a city committed to contemporary art and the preservation of its cultural traditions. With each edition, it leaves behind a legacy that transcends regional boundaries, making it a reference point for urban art in Spain and beyond.

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Images by Mira Hacia Atras & Fer Alcala

The post Apples, Clogs, and Pottery: The Parees Festival Celebrates Asturian Identity first appeared on street art united states.
by Sami Wakim via street art united states