In recent years, art has become increasingly political, again. The societies around the globe and even in Europe and the United States seem to wake up from the rigidity of the paralysing West-East conflict, and its aftermath, when there seemed to be no alternative to economic liberalism. Some artists take amazing risks to do public actions, others try to subvert written or unwritten laws in more subtle ways, however, in many ways, the society has become the material again for artists to experiment with. Furthermore, the cheeky and anarchist stance many artists have developed may have an influence on how the freedom to speech, which seems to be in jeopardy again, will be interpreted and used in the future.
The Center for Political Beauty published a video of a broker who accused herself to have blood on her hands by trading with food and vital goods. The video was spreading like an exploding bombshell, and made it to mainstream online news. Eduardo Srur and Vladimir Turner undertake provocative actions in the public sphere, which are so pointed and funny, they seem to be permissible. Daniel Künzler, Thomas Lüer and Brandstifter undertake more silent but still subversive art researches and interventions; Diane Nerwen documents an official rooftop vegetable garden in the heart of the city, unthinkable just a few years ago; and Matt Grau documents the public actions of a group that tries to put their environment under laugh therapy, successfully as it seems.