This article was commissioned by Kultur i Väst as part of an artist writing series entitled 'Honestly' which ask artists connected to the Gothenburg, Sweden area to write about urgencies related to their practices.  
'Raised Fists and Glitterbombs' poses the potential of queer performance art as a strategy for social change.  Talking through activations at PRIDE Festivals and recent works such as 'Performing Defiance and 'This is not a party'-- queer performance and activist strategies of agency, community and awareness that can be used to combat individual and structural discrimination are discussed.  Special thank you for the English to Swedish translation of this text by Ann-Charlotte Glasberg Blomqvist
About Kultur i Väst:  'Kultur i Väst forms one of Region Västra Götaland's cultural administrations, and our work is commissioned by the Cultural Affairs Committee. In order to achieve our goals, we work together with municipalities, authorities and organisations on cultural issues. The foundation of all our work is to increase awareness of the role of culture and reinforce culture in society. We create conditions for a stronger cultural landscape by providing venues, practices, knowledge and skills.'

Text written for the "Gestures of Defiance" Zine (2015) uniting two strategies of resistance and gestures of defiance: The raised fist and the act of protest through glitter bombing.  
This is a continuation of the "Protest in Pride" Zine (2014).  This publication holds a collection of fist symbols from the 1960s to today as well as an introduction to the fist and glitter as gestures of defiance by Mary Coble. Two commissioned essays further contextualize the raised fist iconography: Lincoln Cushing provides a historical overview of the clenched fist symbol, and Mathias Danbolt offers a queer political argument for raising our fists today in a piece written on the occasion of Coble’s Protest in Pride. In addition, a short, reprinted text by Hadassah Damien describes how queer sexual politics and sexual practice intersect in the symbol of the clenched hand.

Spring Exhibtion Series:  Spaces for Resistance at the Vita Kuben, Norrlands Opera, Umeå, Sweden, 2015
In line with Coble's current research project on manifestations of resistance, the artist has invited collaborators Jeuno JE Kim and Ewa Einhorn as well as Sidsel Meineche Hansen to exhibit work that also engage in critiques of and resistance to power, privilege, normativity and categorization. For the final exhibition Coble will show work at Vita Kuben in dialogue with a live performance as part of MADE 2015, Umeå’s performing arts festival.
Image: "Spaces for Resistance", Mary Coble 


 "Protest in Pride" is a performance installation that includes a 44 page zine that was originally distributed for free at "West Pride", Gothenburg's LGBT Festival, 2014.  The zine includes an introduction by Louise Wothers and Mary Coble, a commissioned texts by Lincoln Cushing "The Chimeral Clenched Fist" & Mathias Danbolt "The Time for Raised Fists" & "Raised Fist[ing]" by Hadassah Damien, has been reprinted with permission.

Article published in 'teater 1', No 156, 2013
Based off of the live performance "Fighting Cocks"