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Members of the National Socialist Party (American Nazi Party) organized a march against illegal immigration on April 21, 2007 on the Statehouse grounds in Columbia, SC. Photos by Sean Rayford
Various Artists
Wednesday 6 November, 7:00pm - 9:00pm
George Orwell
168 Perth Road
Dundee, DD1 4JS
Join us for a curated evening of Artist short films from around the globe. Based on this year’s festival theme REACT; NEoN has selected a series of films covering topics such as gender, environment and immigration.
Featuring work by BOM Fellow Emily Mulenga and other artists Georgie Roxby Smith, Jenny odell, Elaine Hoey, Chloé Galibert-Laîné, Shelley Lake, John Butler, Kevin B Lee, shawné michaelain holloway, Jennifer Chan, Shelly Lake and Greg Bath.
Full screening notes:
Max Almy, Perfect leader, (1983), 4 mins. 15 secs.
A satire of the political television spot, Perfect Leader shows that ideology is the product and power is the payoff. The process of political image making and the marketing of a candidate is revealed, as an omnipotent computer manufactures the perfect candidate, offering up three political types: Mr. Nice Guy, an evangelist, and an Orwellian Big Brother. Behind the candidates, symbols of political promises quickly degenerate into icons of oppression and nuclear war.
Greg Barth, Epic Fail, (2017), 5 mins. 32 secs.
Epic Fail is an avant-garde essay that questions what happens when political discourse fails to connect with voters, and truth is impacted by fake news. Based on the political events that shook 2016, the film imagines a reality that is both forged and blurred depending on how we perceive it; using existential currents inspired by Jean Paul Sartre’s Nausea.
The result is a surreal political satire that revolves around a vote for world peace that has dramatic consequences.
John Butler, Xerox’s Paradox, (2018), 2 mins.
A new workwear collection for the age of intelligent supertasking. Xerox’s fear of a paperless office led to the GUI, which, in turn, led to an explosion in the amount of printed matter. Xerox’s Paradox is about technology’s broken promises. The more we automate, the harder we must work.
Jennifer Chan, *A Total Jizzfest*, (2012), 3 mins. 22 secs.
A sample of the richest, sexiest men in computer and internet history.
Chloé Galibert-Laîné, My Crush was a Superstar, (2017), 12 mins. 30 secs.
This desktop documentary follows an ISIS fighter through a trail of messages, videos and postings to uncover his existence in both social media and reality. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Elaine Hoey, Animated Positions, (2019), 9 mins. 47 secs.
This work draws reference from 19th century European nationalist paintings and explores the role of art in the portrayal of jingoistic patriotic ideals that have become culturally symbolic in the formation of the nation state. This piece re-animates the war like stances and positions of bodies found within these paintings, using character animation taken from the video game Call of Duty. The work challenges notions of nostalgia for the nation state, creating a contemporary critique of the underlying violence that underpins much of todays nationalistic ideologies.
Shawné Michaelain Holloway, GEAR-REVIEW(1)__BEGINNERS-VEST.MP4, (2016), 1 min. 55 secs.
GEAR-REVIEW(1)__BEGINNERS-VEST.MP4 is a response to internet’s “Gear Review” video genre. Using a video sourced from Youtube’s preparedness community alongside a video of the artist performing live for her leather community, this work asks questions about the ways we get to know, use, and care for our objects. Whether them for war, for sex, or both, we’re obsessed with function and feature, forcing fetish into the realm of the domestic and accessible.
Shelley Lake, Polly Gone, (1988), 3 min. 9 secs.
A day in the life of a robot.
Kevin B. Lee, The Spokesman, (2018), 12 mins. 30 secs.
The Spokesman investigates the online traces of John Cantlie, a British news reporter who was kidnapped in 2012 and later appeared in several Islamic State propaganda videos. Responding to Cantlie’s videos, Kevin analyzes Cantlie’s British accent and professional composure, constructed over many years of media appearances. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Emily Mulenga, Now that we know the world is ending soon…what are you gonna wear?, (2019), 4 mins. 5 secs
Religious imagery and symbols of capitalist excess intertwine under the ever-watchful eye of CCTV cameras. Loneliness occurs even in the most crowded, noisy and colourful of rooms. Fractured identities span the online and offline worlds. Late-stage capitalism has left us with a disconnect from others and from a spiritual centre, and consumerism purports to fill the void; but never truly satisfies. There’s a condition of perpetual information overload in an oversaturated, neon, dystopian cityscape. There’s also a rabbit.
Jenny Odell, Polly Returns, (2017), 3 mins. 2 secs.
Polly Returns is based on Shelley Lake’s 1988 computer animation, Polly Gone, which features an isolated female robot doing everyday tasks inside a futuristic dome house. In my version, the robot has returned in 2017. The soundtrack is inspired by the original from Polly Gone, which itself was based on the soundtrack from The Day the Earth Stood Still.
Georgie Roxby Smith, Lara Croft Domestic Goddess I & II, (2013), 2 mins. 14 secs.
Georgie Roxby Smith’s hacked Lara Croft Tomb Raider video game shows the familiar icon for violent femme fatale bad-assery in the throes of orgasmic housekeeping, a scene that could be read as neo-Friedan, with her “domestic goddess” subject trapped between the banally physical and the extraordinarily virtual. The value judgments are unclear, the equation destabilized, as Croft joyfully irons shirts with a bow and arrow slung over her back, letting out cries that are undiscernibly battle grunts or orgiastic moans.
Photography Kathryn Rattray
A sign held by Juneau resident Karri Willoughby at a rally at the Alaska state Capitol on Jan. 30, 2017. Protesters rallied against President Donald Trump’s executive order denying immigrants from seven Muslim countries the right of entry into the United States. (Photo by Skip Gray/360 North)
Special Agents from ICE Homeland Security Investigations (HSI) Special Response Team (SRT) members provide security at various venues in Minneapolis, MN prior to Super Bowl 52.
Major events like the Super Bowl are designated as SEAR (Special Event Assessment Rating) Level 1 event. SEAR Level 1 events require federal government support to provide security and public safety.
Image No: 971-2-C212c-1930-back
Title: Cover of Canada West.
Date: 1930
Remarks: Pamphlet published by the Canadian Government to promote the provinces of Alberta, Saskatchewan and Manitoba to prospective immigrants and settlers.
The cover features children and a dog running to greet their farmer father, who holds up his arm and a pitchfork in a field of stooks.
Subject(s): Emigration and immigration / Immigration literature / Harvesting / Farm life
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First time in my life I know how it feels to be a boat refugee... even if is IS just for a 15 day VISA
Sen. Dick Durbin holds up his driver license during an immigration reform roundtable discussion he and Rep. Bill Foster hosted in Aurora Aug. 6, 2013.
We checked out of Malaysia and drove over this bridge before arriving at Singapore's immigration. The bridge was pretty empty, because this was the tollway bridge. There's another bridge from Johor Bahru that is normally packed and the wait would be around 2 hours... People are stingy you know! It's not even very expensive to use the tollway to get here. :O
NOGALES, Arizona (April 1, 2014) - Cardinal Seán O'Malley of Boston and 7 other bishops celebrate Mass on the US-Mexico border in Arizona to commemorate the deaths of migrants in the desert and to pray for immigration reform.
Before the Mass, Cardinal Seán was taken on a tour of the border area by a local priest.
(Photo credit: George Martell/The Pilot Media Group) All photos available under a Creative Commons license, Share-Alike, Attribution-required.
Woman costumed in serape and sombrero:
"I took ALL of your jobs and I still can't afford HEALTH INSURANCE".
That'll happen when all our jobs don't pay a living wage and insurance is coupled to employment--
Mural in the Madison Square Post Office on East 23rd Street, part of the Scenes of New York series painted in 1937-39 by Kindred McCleary for the Treasury Department's New Deal-era Section of Fine Arts Program.
Pro-immigrant activists films Minutemen and vice-versa. TV films them both, and I get to take the photo!
Title: NAFTA: The True Goatsucker of Mexico / NAFTA: El verdadero chupacabras de Mexico
Size: 12 x 16 inches
Medium: Acrylics
Description:
My canvas represents the monster that NAFTA (North American Free Trade Agreement / Tratado de Libre Comercio de America del Norte) has become for Mexicans in Mexico. NAFTA, as a blood sucker (vampiro)/goatsucker (chupacabras) really exists to exploit and take advantage of Mexico's workforce and resources, with the consent of Mexican high-ranking officials. The ugly truth is that NAFTA's only true beneficiaries are the USA corporations.
You may probably have heard about the "chupacabras" in Mexico: This mythical creature created by the government to serve as a red herring. El chupacabras is brought to life every so often by the government to distract ignorant Mexicans from really important issues that are affecting them or that will affect them. This green-greedy monster with the top hat represents the "USA corporate interests". On the back of the monster are the dark hands of our Mexican laborers who are being exploited, and in a way "hanged" unmercifully (like negro slaves were in the USA) by treacherous Mexican politicians in collusion with the USA government. This country is represented by white, red, and blue colors, and by the star figure.
I am from Tijuana, Baja California. I have a home close to several "maquiladoras" (twin plants). I know first hand the working conditions endured by maquiladoras' workers and the miserable salaries they receive. This treaty has only displaced workers "campesinos" (farmworkers), among others, forcing them to leave their states and families, and to try to cross the perilous USA border. I myself was displaced after the 90's devaluation. I was a teacher at Universidad Autonoma de Baja California. My salary as a teacher was $6.35 an hour at the time. After the devaluation my salary was $2.35 an hour. This situation made me return to the USA. I had to leave my husband, and my beloved home to come to live in the USA. Fortunately, since I could work legally in the USA, I did not have any problems getting a job. Since 1996, I am the official translator/interpreter for National School District in National City, California. I also work in the same capacity for the City of National City and for the Chula Vista Police Department.
Best regards,
Yolanda Lopez
Immigration Lawyers Adelaide provides legal advice and help to people who want an Australian Visa. We provide assistance on getting Employer Sponsored Visa, State Sponsored Visa, Student Visa, Partner Visa and Australian Citizenship. We will provide all the help in your visa application.
U.S. Customs and Border Protection Acting Commissioner Troy Miller, left, poses for a photo with Director General of Immigration for Colombia Juan Francisco Espinosa Palacios after engaging in a meeting at CBP headquarters at the Ronald Reagan Building in Washington D.C., August 26, 2021. CBP photo by Glenn Fawcett