This should be a time for action and activism on behalf of our species and our planet. While there’s certainly a fair amount of that already, the combined weight of the risks we face makes all too many of us turn inward toward family and friends, or outward to find scapegoats for our problems. And yes, there are still moments of joy, optimism, and constructive action. Unfortunately, they are increasingly hard to sustain amid relentless daily attacks on people’s lives, livelihoods, and basic dignity.
One of the best ways to find a place of balance and light amid all the chaos is by creating and appreciating art, which can get to the heart of the matter by tapping not just the intellect but the emotions, putting us in touch with a deeper sense of meaning too often ignored in our rush to deal with the crises of the moment.
Sending Out an SOS
It’s in this context that I read and viewed Promemoria—Reminder (Sending Out an SOS) by EMA (Enrico Muratore Aprosio), a Geneva-based human rights advocate, humanitarian, and artist. The words in the book, which addresses Covid-19, the climate, and the prospects of nuclear war through poetry, prose, and storytelling, are compelling. But the artworks that punctuate the text are truly stunning, using bright colors and complex designs that incorporate pictures of both historical and imaginary figures—its images ranging from Karl Marx to Marilyn Monroe, Ronald Reagan to the Mona Lisa (wearing a Covid-19 protective mask).
The book honors the spirit of altruism and courage, most notably in a section dedicated to Mbaye Diagne, a Senegalese peacekeeper who saved up to 1,000 lives amid the 1994 genocide in Rwanda, only to be killed in a mortar attack 12 days before he was set to return home.
Melissa Parke, director general of the Nobel Prize-winning International Coalition to Abolish Nuclear Weapons, captures the sense of the book well, suggesting that Aprosio’s “use of beautiful animals, striking colors, and magical happenings communicates both the urgency of the situation we face and reminds us of what we stand to lose if we don’t change course.”
Not only will the book have its own impact, but it will hopefully inspire others to produce projects that address our most urgent problems in new ways, moving people to take action grounded in our common humanity.
Appreciating what we still stand to lose couldn’t be more crucial in the world we now face. Savoring everything from the signal achievements of humanity (writ large) to the pleasures and accomplishments of our everyday lives matters deeply, both as a motivation to continue working for change in an ever-messier world and as fuel for sustaining us in a struggle of unknown duration.
Yes, EMA’s book is grimly grounded in reality, even as it (literally) paints a picture of a world that could be so much better. One of my favorite panels in the book is entitled “Every Day More Bullshit,” just because, well, it seems all too sadly appropriate to the moment we’re in.
There’s also a chapter called “Radioactive Beasts,” inspired by George Orwell’s dystopian novel Animal Farm. The animals Aprosio writes about are worried by the state of the world and concerned that humans aren’t taking the risks posed by current conflicts seriously enough.
In April 2023, some of Aprosio’s fictional beasts were projected onto buildings in New York City’s Times Square with support from the International Campaign to Abolish Nuclear Weapons (ICAN). Other portions of the book could be displayed across this embattled planet of ours in a similar fashion to good effect.
There’s more to EMA’s book than can be taken in at a sitting, or even many sittings, or certainly summarized in an essay like this. Still, get your hands on it if you can. It can serve as an inspirational reference work you can dip into at any time to reenergize yourself or contemplate what a different world might indeed look like. In that way, it reminds me of the effects of Afrofuturist art and literature, not because the forms necessarily resemble each other, but because both approaches underscore the desperate need for a bold vision of what a new world might look like—a vision of what anyone trying to change things might dream of.
Artists for Peace
Promemoria is anything but the only current art project that takes on nuclear weapons and related dangers. One of the most interesting current networks is Artists Against the Bomb, a global organization of creators who have produced an amazing array of antinuclear posters, among other works.
Another vital project in a world where nuclear weapons are proliferating and the U.S. is planning to invest up to $2 trillion dollars in the (yes, this is indeed the term!) “modernization” of its nuclear force in the coming decades is Bombshelltoe. It’s a policy and arts collective that defines itself as “a creative organization pushing for an active exploration of arts, culture, and history to promote nuclear nonproliferation, arms control, and disarmament for the next generation.” One of its prominent efforts is the Atomic Terrain Project, which highlights how nuclear weapons have “seeped into our waters and tapped into our soil” and “continue to harm all life, human and non-human alike.”
I was fortunate enough to see an exhibition that the project mounted at the 2024 New York Art Book Fair entitled “How to Make a Bomb”—a book with the same title was also released then—organized and presented by Gabriella Hirst, Warren Harper, Tammy Nguyen, and Lovely Umayam (the founder of Bombshelltoe). The exhibit was built around a flower, the Rosa Floribunda, or—yes!—“Atom Bomb,” which Hirst describes as “a garden rose that was cultivated and named in 1953 during the Cold War arms race to commemorate Britain’s newfound status as a nuclear power.” Hirst has taken the lead in cultivating (and you might say pacifying) that rose, while getting it planted in gardens throughout the United Kingdom and beyond as an antinuclear gesture of beauty.
At the book fair, attendees could learn how to plant and maintain just such a rose while engaging in conversations about the history and devastating impact of nuclear weapons or checking out basic documents and books about the nuclear age. Such an indirect (even flowery!) route into truly grim subject matter drew interest from people who might not normally pick up a book on, or read an article about, the dangers of nuclear weapons but were fascinated by the physical process of grafting a rose and then willing to stay for open-ended conversations about the growing nuclear dangers in our world.
When asked why the project chose to use a rose as an entry point into discussions of such ominous and grim subject matter, Lovely Umayam noted that “nuclear issues alone can feel abstract and alarmist” and eerily unapproachable. As Gabriella Hirst put it, the project “is about taking the sublime into your own hands and working through that in small ways… to reduce fear among non-experts.”
At the same book fair where I encountered the Rose Project, I had the pleasure of meeting Ben Rejali, an organizer of the art and political website Khabar Keslan. Recent essays there include an interview with Palestinian filmmaker Khaled Jarrar, but I was first drawn to the project’s printed works, including reproductions of stamps from Iran and South Asia going back to the 1950s. There were, of course, numerous stamps portraying the once-dreaded Shah of Iran. There was also one of the CIA’s logo with blood running down it, a reference to the agency’s role in the 1953 coup that installed the Shah as Iran’s autocratic ruler. Perhaps the most emotionally powerful product of Khabar Keslan, however, may have been a collection of poems entitled “Salute to Olives” by the late Omar al-Bargouthi, many of which were written while he was being held in Israeli prisons.
On a planet where nuclear dangers are only growing, both Promemoria and the Atomic Terrain project underscore the importance of finding new ways to communicate about this increasingly fragile and endangered planet of ours that inspire creativity and action rather than fear, paralysis, and denial. At a time when challenges to fundamental rights are hurtling toward us at warp speed, taking the time to experience artworks of any kind can seem like a distinct luxury, but don’t believe that for a second. Such art is a key to reclaiming our humanity and getting in touch with the creative, collaborative impulses that could help save our planet. A pause, artistic in nature, to reflect and recharge our psychic batteries can go a long way toward helping us to cope with this all too strange present moment and build for the future. Promemoria provides us with that precious opportunity.
A Brief History of Culture and Resistance
Music, theater, painting, and other forms of artistic expression have, in fact, been part of every major movement for change in recent memory. The Federal Theatre Project of the 1930s, funded as part of the Works Progress Administration of President Franklin D. Roosevelt in the era of the Great Depression, hired unemployed performers and writers who produced more than 800 plays and dance events. In the process, they highlighted work by under-represented groups, including African Americans via the Negro Theatre Project and the African-American Dance Unit. It also funded foreign language plays in Spanish, Yiddish, and German until Congressman Martin Dies, Jr., head of the House Un-American Activities Committee, led a successful charge to defund the program because of its advocacy of racial equality and other progressive themes.
Theater, however, continued to play a central role in progressive movements of the 1960s and 1970s, from Teatro Campesino, born during the United Farm Workers Union’s organizing drives in California; to the Bread and Puppet Theater, a staple of anti-war efforts; and the San Francisco Mime Troupe, whose plays captured a whole range of progressive themes, often in hilarious fashion. And don’t forget the freedom songs that were at the core of the civil rights movement, sung by demonstrators at mass rallies and activists detained in local jails in the South.
The anti-nuclear movement of the 1980s was also sustained and amplified by works of art. Its best-known cultural product was undoubtedly the TV movie The Day After, a fictionalized treatment of the impacts of a nuclear war viewed by more than 100 million people when it aired on ABC in November 1983. But there was also a steady drumbeat of anti-nuclear cartoons, some of which were assembled in a widely distributed collection entitled Warheads. Joel Andreas’s 77-page graphic comic book, Addicted to War: Why America Can’t Kick Militarism, proved to be a primer on the roots of the American war system from the 19th-century vision of “manifest destiny” to (in an updated edition) the Global War on Terror, taking on war profiteers and the role of the media along the way.
More recently, groups like the Yes Men and Reverend Billy and the Stop Shopping Choir have lampooned corporations and their executives through street theater and by posing as participants in corporate gatherings (and so underscoring the absurdity of their activities and world views). The Yes Men describe their work as using “humor and trickery to highlight the corporate takeover of society, the neoliberal delusion that allows it, [and] the corporate Democrats’ responsibility for our current situation.” Reverend Billy and the Stop Shopping Choir ridicule materialism in all its forms from Starbucks displacing local coffee shops to the excesses of the Disney Store in New York’s Times Square.
Paul Miller, aka DJ Spooky, has similarly engaged in a wide range of politically focused art projects, ranging from a Peace Symphony performed in Hiroshima to The Book of Ice, which addresses climate change, to a wide array of films, articles, and concerts. Robin Bell Visuals has produced films and art installations, including projecting the words “Pay Bribes Here” on the side of the Trump International Hotel in Washington. And there have been scores of anti-war anthems produced in virtually every genre of modern music from folk to jazz to rock to hip hop to heavy metal.
My colleague Khody Akhavi makes short compelling videos on topics ranging from the dangerous rise of AI-driven weaponry to the impact of the funding of think tanks by weapons contractors, the Pentagon, and foreign governments. And the Center for Artistic Activism partners with advocacy groups on specific projects, schools them in artistic techniques, and helps them build art into their campaigns and public education efforts. Their slogan: “we make social and environmental change more effective—and more creative.”
Better yet, the artists and projects cited above are just a sampling of the many forms of political art that have attracted audiences and encouraged activism at the local, national, and global levels. Promemoria is a worthy addition to this tradition. Not only will the book have its own impact, but it will hopefully inspire others to produce projects that address our most urgent problems in new ways, moving people to take action grounded in our common humanity. Given the world we’re now in, it can’t happen soon enough.
