The Open Call for the Social Art Award 2019 under the topic “We are the People – Peaceful Revolutions” was closed on December 15, 2019. We are very impressed by 558 submissions that were contributed by artists coming from 65 countries across all continents. 

The winners of The Social Art Award 2019 are Narcissa Gold (USA), Melinda Mouzannar (Lebanon) and Bogna Grazyna Jaroslawski (Poland/Germany). The Honorary Mention goes to Kingson Kin Sing Chan (Hong Kong/UK). 

Below you find the artworks, that passed the initial jury round. The public voting took place till 30 December and is a tool to give more public visibility to the topic and the artworks. It does not replace the final jury judgment. There were two wildcards for the most voted artworks that entered the final shortlist

The focus diversity of applications shows that artists are active in the multi-faceted fields of socially engaged art reflecting on wars, genocides, femicides, traumata, violence against refugees, children, women, men, disabled people, LGBTIQs, animals. They share feelings for the planet and its living species, but also showing hopelessness due to complex crises be it climate change (e.g. in regard to water pollution), capitalism, corruption, a violation against human rights, nature, protected national parks. Many of the artists are constantly trying to give a voice to the poorest or empower unheard social groups.

It’s not only about peaceful revolutions, but it’s also about feeling a deep connection and showing love and respect for each other.
Thank you all for sharing your great and inspirational work and look at all the great contributions!

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144
Daily Wrestling, 2018
by Younes Baba-Ali
Category: open category
713
Contest is finished!
https://social-art-award.org/award2019/?contest=photo-detail&photo_id=952
144
713
Title:
Daily Wrestling, 2018

Author:
Younes Baba-Ali

Category:
open category

Description:
Stitched into Senegal’s social fabric, wrestling bares witness to a distinct form of modernity. The magic and beliefs surrounding wrestling still remain intact from the origins of the sport, with marabouts preparing different charms, potions and spells to bless the fighter. As the nation’s economy has plunged, laamb’s appeal has skyrocketed. As the sport entered the realm of corporate sponsorship, the traditional and spiritual nature of the sport has become imbued by the phenomena of materialisation, mondialisation and wild capitalism. Destilling wrestling’s underlying ties to global capitalism, social struggle and political symbolism, Baba-Ali eliminates the opponent and replaces him with objects taken from wrestler’s daily lives. Invigorated by the sound of the drums and rowdy crowd, the wrestlers thus battle it out against the struggles of their daily existence. Humanising issues are too often spoken of in terms of economy and politics. How can art catalyze change?: Younes Baba-Ali makes art that is unconventional, intelligent and critical, mostly in public space or places uncommon to art practice. He is a sharp observer and raises pertinent questions aimed at society, the institution and above all, his audience. As a free thinker he holds a mirror up to society and confronts it with its ingrained habits and dysfunctions. Baba-Ali’s work often assumes the form of the readymade, but underneath its facade of simplicity there is a complex exercise in balance at work. As an artist-alchemist he measures and mixes technology, objects, sound, video and photography with political, social and ecological issues. The resulting installations discreetly coerce the unsuspecting viewer into taking a stand. Baba-Ali shuns no controversy and often finds himself negotiating his art and its rationale with his environment. His works are context-specific and take their final form in dialogue with its spectators. This at times disruptive intervention art confronts the viewer in an ironical way with himself and his environment. Baba-Ali presents people dilemmas and taboos and challenges them to (re)act. In this way he makes them his accomplices in acts of artistic guerrilla that unite the establishment and the common man.
Description:
Stitched into Senegal’s social fabric, wrestling bares witness to a distinct form of modernity. The magic and beliefs surrounding wrestling still remain intact from the origins of the sport, with marabouts preparing different charms, potions and spells to bless the fighter. As the nation’s economy has plunged, laamb’s appeal has skyrocketed. As the sport entered the realm of corporate sponsorship, the traditional and spiritual nature of the sport has become imbued by the phenomena of materialisation, mondialisation and wild capitalism. Destilling wrestling’s underlying ties to global capitalism, social struggle and political symbolism, Baba-Ali eliminates the opponent and replaces him with objects taken from wrestler’s daily lives. Invigorated by the sound of the drums and rowdy crowd, the wrestlers thus battle it out against the struggles of their daily existence. Humanising issues are too often spoken of in terms of economy and politics. How can art catalyze change?: Younes Baba-Ali makes art that is unconventional, intelligent and critical, mostly in public space or places uncommon to art practice. He is a sharp observer and raises pertinent questions aimed at society, the institution and above all, his audience. As a free thinker he holds a mirror up to society and confronts it with its ingrained habits and dysfunctions. Baba-Ali’s work often assumes the form of the readymade, but underneath its facade of simplicity there is a complex exercise in balance at work. As an artist-alchemist he measures and mixes technology, objects, sound, video and photography with political, social and ecological issues. The resulting installations discreetly coerce the unsuspecting viewer into taking a stand. Baba-Ali shuns no controversy and often finds himself negotiating his art and its rationale with his environment. His works are context-specific and take their final form in dialogue with its spectators. This at times disruptive intervention art confronts the viewer in an ironical way with himself and his environment. Baba-Ali presents people dilemmas and taboos and challenges them to (re)act. In this way he makes them his accomplices in acts of artistic guerrilla that unite the establishment and the common man.