Fun over Format, Forever

Let’s be honest: annual reports have a reputation

They’re often long. Dense. And a little… dead. Yet they matter a lot. They capture the weight of an entire year: the work, the wins, the challenges – and the people who made it all possible. 

But if you’ve ever tried to distill passion, connection, and creative chaos into a neatly formatted PDF, you know what we’re talking about. A traditional report can tell you what we did. But it rarely tells you how it felt. 

We don’t do boring (and neither should anyone – wink). So, from the start, we’ve treated our annual reports as an extension of who we are – equal parts experimental and strategic. Each one has been a chance to offer a small gift, both to the world and to ourselves. Something worth keeping. Because if the year meant something, the report should too. 

“Our reports also reflect a deeper principle of ours: play is a form of resistance. In a world where injustice often dominates the narrative, creating something joyful, beautiful, and imaginative is a radical act. ”

— Pavel Kounchev, Co-founder and Chair of the board of Fine Acts

Let’s take a look back at some of the annual reports we dreamed up – each meant to spread hope and spark action:

2024 – Sticker Pack

We create change that sticks – sometimes literally. So our latest annual report came as a sticker pack.

We invited six incredible artists from around the world to create unique sticker sets around six core themes: Resistance, Resilience, Empowerment, Action, Belonging, and Hope – turning what the world needs most right now into something you can hold. 

These stickers are made for street poles, notebooks, bathroom stalls – and the back of your heart.

Best part? They are YOURS to print, share and love!

Annual Report 2024

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Free Stickers

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Annual Report 2024 〰️ Free Stickers 〰️

2023 – Chocolate Bar

In bitter times, changing the world can taste so sweet. As a reminder of that, in 2023 we put our annual report on a chocolate wrapper. 

The print version was short & sweet – because who reads anymore, right? Wait, you do?  

Unwrap our delicious 2023 highlights by reading our report online.

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Annual Report 2023

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Read more 〰️ Annual Report 2023 〰️

2022 – Origami Papers

In 2022, one part of Heaven & Hell in the Anthropocene – our participatory installation at COP27– asked delegates to fold origami animals: a quiet reminder that we share this planet with many species, and need to keep them in mind when making decisions about the environment. 

Inspired by this project, we published our 2022 annual report as a set of Origami papers. Because we believe you can – and should – play with anything.

The first generation of origami birds already left the nest, but you can make your own unique creatures by following the instructions online.

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Annual Report 2022

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Read more 〰️ Annual Report 2022 〰️

2021 – Poster Pack

At the end of 2021, Nick Cave wrote: “Hope and optimism can be different, almost opposing, forces. Hope rises out of known suffering [...] Optimism, on the other hand, can be the denial of that suffering [...] Hope is wised-up and disobedient. Optimism can be fearful and false.” 

All wised-up and disobedient, we decided that our 2021 annual would be a poster pack – meant to inspire, motivate, and offer hope when everything felt uncertain. 

Ten of the posters were hand-picked illustrations from our unique free art platform, TheGreats.co. Two were text-based designs we created ourselves. You can still download them all for free – perfect for when your walls (or your heart) need a little extra care.

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Annual Report 2021

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Read more 〰️ Annual Report 2021 〰️

2020 – Tactile Book

In 2020 we embossed one of our core principles on the cover of our annual report – PLAY!

2020 was frightening and overwhelming, but it reminded us of the power of collective action. Here are the four lessons from that year we have been living by ever since:  

• Learn to love the unknown. Each victory, each great story, cuts through uncharted waters, so there’s no point in dwelling on the shores of the predictable.

• Learn to enjoy moulding opportunities out of the clay of crises. 

• Learn to not be afraid to stand still for a while – as stillness can be a hurricane in the making.

• Learn to play more. There are only winners when we play – as it bursts joy, as well as better ideas. 

So start with play – and see where it takes you!

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Annual Report 2020

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Read more 〰️ Annual Report 2020 〰️

Onwards 

We don’t outsource vision – each of our annual reports began with a sharp and intentional idea, developed by our team. Along the way, we’ve been lucky to work with brilliant creative partners who helped shape those concepts visually. Huge thanks to Oblik Studio for building the first few websites, and to Punkt, Tanya Korniichuk, and Hust Wilson, for bringing our ideas to life through design.

What’s next? Believe it or not, we don’t know exactly. And that’s what makes it exciting – and how we like it! What we can promise is to stay true to ourselves – to experiment, to bridge, and to draw outside the lines.

Perhaps you have an idea for what our next annual report could be? Or maybe we successfully inspired you and you’d like to collaborate on future projects? Reach out!

Until everything is fine – we’ll act.
And we’d love to act together.

Masterclass | How hope and play can drive activism

Following our deep dive into the neuroscience of empathy, cultural strategy, strategic nonviolence and more, the final session of our Creative Activist Masterclass Series explored the concept of playtivism, hope-based communications and the power of creative activism. Led by Yana Buhrer Tavanier, the co-founder and Executive Director of Fine Acts and a TED Senior Fellow, this masterclass challenged participants to rethink how they communicate social issues, mobilize audiences, and sustain movements for the long term.

From investigation to impact: A personal journey

The session began with a personal story – one that highlighted the frustration many activists feel when truth alone isn’t enough to drive change. Yana, a longtime activist and award-winning investigative journalist, shared her experiences of exposing human rights abuses, including undercover investigations in institutions for people with disabilities across the Balkans. Despite uncovering harrowing truths, the impact was limited: “I won multiple awards, but only one institution was shut down.” This realization led to a shift in her career from journalism to activism – where communication became not just about revealing problems, but about mobilizing people toward solutions.

Hope-based communications: Moving beyond fear and despair

At the heart of the session was a central question: How do we communicate difficult truths without overwhelming people into inaction? Research from neuroscience and behavioral sciences suggests that simply presenting problems – no matter how urgent or shocking – can often backfire. Instead of mobilizing people, it can lead to apathy and withdrawal.

The answer? Hope-based communications – an approach developed by Thomas Coombes, a global communications strategist and founder of hope-based comms.

Hope, as defined in this session, is not about blind optimism. It’s a pragmatic strategy that focuses on solutions, agency, and action. “Hope is not ignoring problems; it’s about framing them in a way that makes change feel possible.” The approach shifts messaging from:

• Fear to Hope: Move from dwelling on crisis to inspiring action and possibility. 

• Problem to Solution: Don’t just state the issue – show a path forward.

• Threat to Opportunity: Instead of emphasizing threats, highlight possibilities for change.

• Against to For: Don’t just oppose something, articulate what you support.

• Victim to Hero/Human: Empower affected communities as agents of change.

Hope-based communication goes beyond simply reframing messaging – it’s also about movement-building. “If we want people with us for the long haul, we need to give them reasons to believe change is possible.”

The power of visual storytelling and emotion in activism

The masterclass also explored how art and visual storytelling can be game-changers in activism. Studies show that opinions change not through more information, but through empathy-inducing experiences; and that visual language works much better than dry facts and  abstract concepts. While visuals, storytelling and art provide the tools for engagement, understanding the emotional landscape of activism is crucial for sustained impact. Yana explored how different emotional appeals drive different types of action. While anger can mobilize people in the short term, hope sustains movements. “Anger is like a spark – it ignites quickly but burns out fast. Hope is what keeps people in the fight.”

Participants were challenged to practice to reframe their own messages, testing how different emotional appeals could shape audience response. This exercise reinforced the idea that the way we present information can determine whether people feel paralyzed by the scale of a problem, or inspired to take action.

Playtivism: Fostering experimentation and multidisciplinary play in activism

A significant highlight of the masterclass was the concept of Playtivism – the integration of play and experimentation into activism to create more engaging, effective, and sustainable movements. Yana, whose TED Talk on Playtivism has been viewed nearly two million times, emphasized that in the context of activism play is not frivolous – it is a powerful tool for fostering creativity, inspiring participation, and fighting burnout. 

“We often assume activism has to be serious, but play across disciplines allows us to come up with better ideas, and reach people in unexpected ways. It helps dismantle fear, draws people in, and sparks joy – even in difficult struggles.”

Two notable formats Fine Acts has pioneered with play in mind are Sprints and Labs. Sprints are intensive creative bootcamps where artists produce rapid-response visual content within 48 hours. These events generate high-quality, open-license artworks that movements can immediately use. Labs, on the other hand, are experimental spaces that bring together multidisciplinary teams, matching artists and technologies, to explore new formats, creative interventions, and playful tactics for activism. These approaches ensure that experimentation and creativity remain at the heart of advocacy, continually pushing the boundaries of how social change is communicated and experienced.

Designing campaigns for action

The session wrapped up with a hands-on discussion on designing creative campaigns. Key takeaways included:

• Make action easy – If people are moved but don’t know what to do next, they are left frustrated or disengage. Provide clear, simple steps for action.

• Use participatory storytelling – Engage audiences in the storytelling process. People are more likely to support a movement when they feel part of it.

• Leverage creative formats – From interactive art installations to humor-driven tactics, unconventional approaches can cut through the noise and make social issues more accessible.

By incorporating joy, creativity, and play into campaign work, activists can sustain engagement, inspire broader audiences, and navigate difficult challenges.

Our Creative Activist Masterclass Series is a groundbreaking program, designed to connect activists and civil society actors with some of the world’s leading experts in the fields of strategic and creative communications, marketing, art, and social change.

Masterclass | Beyond heartstrings: The science of social media strategy for modern activists

The fourth session of our Creative Activist Masterclass series brought powerful insights from Amanda Alampi, Campaigns and Public Engagement Director at Human Rights Watch. With her extensive experience in digital advocacy, including work with Amnesty International and other major organizations, Alampi shared crucial strategies for navigating today's complex social media landscape.

In an era where social media can make or break movements, Alampi emphasized how today's digital landscape demands sophisticated approaches. While social platforms offer unprecedented reach, activists must navigate corporate algorithms, government surveillance, and widespread misinformation. All this requires campaigns to be flexible, nimble, and responsive in entirely new ways.

Despite these challenges, Alampi remains enthusiastic about social media's potential for creating change. "You can either join this rocket ship and really take advantage of virality and reach new and large audiences every single day, or you could be scared or stunted by the speed and scale.” She emphasized that virality isn't just about massive, worldwide trends – it's about creating small tipping points where dissent becomes the majority opinion. 

These moments happen when enthusiasts and activists work together: the activists driving conversations and connecting different parts of the movement, while enthusiasts help spread the message through likes, shares, and simple engagements. It's this combination that creates the cascading effect needed for social change.

Alampi challenged the common dismissal of "slacktivism" – those small online actions like sharing posts or signing petitions. In many contexts, she noted, even these minimal engagements can be meaningful acts of resistance. "Social media today is a dangerous act in many places around the world," she emphasized. "We shouldn't belittle slacktivism and understand that liking something or signing a petition is an important part of the ecosystem of activism on social media today."

Strategic approaches to social media

Alampi introduced two powerful frameworks for developing social media strategies. The Circle Strategy begins with setting clear goals and intentions, then moves through determining your audience, choosing your platform, creating content, implementing, tracking and measuring progress, and adjusting based on results. This approach particularly resonates with campaigners and strategists who think in linear terms.

The alternative Hamburger Strategy [1] takes a more creative approach, starting with defining your audience (the “meat” of your strategy), selecting relevant content themes (the “cheese” that sticks), layering in voice and tone depending on your audience’s culture (the “sauce” that adds flavour), considering content formats (the “condiments” that add texture and variety), all that tailored to your respective platforms (the “bun” that holds everything together). This framework often appeals more to content creators and designers. 

Tools for modern movement building

While discussing the practicalities of digital organizing, Alampi highlighted the wealth of tools available to today's activists. For secure communication and grassroots organizing, messaging apps like WhatsApp and Signal have become essential tools. These platforms enable activists to coordinate securely and build community, much like how Facebook groups were instrumental during the Arab Spring. Reddit and even Pinterest have emerged as unexpected but effective platforms for movement building, as demonstrated by successful campaigns from the Movement for Black Lives Matter and the Women's March.

For creative work, Alampi pointed to accessible tools that have democratized content creation. Platforms like Canva and VSCO make it possible for activists to produce professional-looking content without significant resources. These tools have revolutionized how movements can present themselves visually, making it free and easy to create compelling campaign materials.

In some countries, specialized tools like Phone-to-Action have transformed how activists engage with decision-makers. These premium services can turn every Instagram post or TikTok video into a direct line to elected officials, allowing followers to auto-dial members of Parliament or Congress with a single click.

Breaking out of bubbles

Alampi also shared her predictions for 2025, including the rise of messenger-based organizing, the growing importance of unpolished content, and the continuing challenge of misinformation. 

In this context, she spoke about strategies for reaching beyond activist echo chambers. Breaking the bubble, she emphasized, must be an intentional act. The key isn't just focusing on what you post on your own channels, but rather on what partners and influencers are posting. "Think of your work in concentric circles," Alampi advised. "Find people that you have something that aligns with them and then reach new audiences through creating larger and larger concentric circles."

She shared a particularly powerful example of partnering with Teen Vogue to share protest safety tips during the Women's March era. What started as a viral graphic about protest safety tips evolved into a year-long partnership that reached entirely new audiences. Alampi stressed that often the most viral and useful content for reaching new audiences is educational information rather than direct advocacy asks. "Hide your advocacy inside like a Trojan horse," she suggested, and find the connection point that would make different groups want the information. While this approach requires more time, strategy, and careful packaging, Alampi argued it's a much more effective use of resources than solely focusing on your own social media channels.

Our Creative Activist Masterclass Series, supported by the US Embassy in Bulgaria, is a groundbreaking program designed to connect activists and civil society actors with some of the world's leading experts in strategic and creative communications, marketing, art, and social change.

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[1] See more from Mark Smicklas at IntersectionConsulting.com

Masterclass | A culture-centric strategy: Moving beyond traditional organizing

In our latest Creative Activist Masterclass session, we had the immense pleasure to meet Yosi Sergant, a pioneer in cultural organizing, founder of TaskForce and architect of groundbreaking cultural campaigns. 

Most notably, during the 2008 Presidential campaign, Sergant managed the iconic HOPE campaign with artist Shepard Fairey, which became a defining symbol of Barack Obama's candidacy. With over two decades of experience integrating art, culture, and activism, Sergant offered valuable insights into how organizations can move beyond traditional communication strategies to create meaningful and lasting impact through cultural engagement. 

The problem with traditional nonprofit communications

Sergant argues that most organizations center their communications around their own timelines, fiscal years, and needs, rather than considering how their audiences actually live and engage with information. "Politics is where some of the people are, some of the time. A small fraction of people, for a small fraction of their day," Sergant emphasized. "Culture is where all people are, all of the time. The rest of their day, the rest of their lives is full of interests, work, family, hobby, career."

This insight led to a fundamental principle: successful movements need to meet people where they are, engaging with them through their existing cultural interests and communities rather than expecting them to come to us.

Culture as the principal driver of social change

At the core of Sergant's approach is the belief that culture is the primary driver of social change. Through TaskForce, he works to create culture as a vehicle for affecting change to that culture – working upstream to drive long-tail social impact. This approach has manifested in numerous creative campaigns:

• Beauty and politics: Engaging celebrity nail artists to create voting-themed nail art for influential figures, generating hundreds of millions of views and sparking conversations about civic engagement in unexpected spaces.

• Barber shop activism: Converting barber shops into hubs of political discourse by partnering with influential barbers and providing resources for community organizing.

• Sneaker culture: Creating limited-edition shoes with local artists to drive voter registration among young people.

• Athletes: Developing running club ephemera and post-run activations for 5k and 10k running events.

The power of authentic engagement

Sergant stressed the importance of avoiding "cringe" – inauthentic attempts to connect with communities. Instead, he advocates for: engaging cultural creatives from within target communities, moving them into leadership positions, allowing them to engage their own communities in authentic ways, and building long-term, mutually beneficial relationships.

Strategic framework for cultural organizing

Sergant provides a practical framework for organizations to develop their cultural strategy:

1. Identify cultural traits: Understand the specific cultural characteristics and interests of your target audience

2. Map cultural leaders: Identify trusted voices and tastemakers within those communities

3. Develop authentic tactics: Create engagement strategies that naturally align with the community's existing cultural practices

Mobilization vs persuasion

A key insight from the session was the need to distinguish between mobilization and persuasion tactics. Sergant argued that these, while both important to building power, require fundamentally different strategies and should not be conflated in campaign planning.

• Engaging the base (mobilization): This approach focuses on activating people who already align with your cause but haven't engaged yet. It requires high-volume content production, diverse shareable materials, and multiple engagement opportunities. The key is flooding your channels with content that resonates with your base's existing values and giving them tools to spread the message within their networks. “Give people the tools they need to advocate for you.”

• Reaching new audiences (persuasion): This more delicate approach focuses on winning over new supporters through careful, methodical outreach. It requires identifying truly persuadable audiences, partnering with trusted cultural leaders in target communities, and crafting messages that meet people where they are without alienating them. The pace is slower and more deliberate than mobilization work.

"People who are creating the same content for mobilization and persuasion are reaching no one," Sergant noted. "You turn off your own people if you're just preaching to them, and you turn off the persuadables if you're using language that only works for your base."

As we continue our Creative Activist Masterclass series, Sergant's insights offer a valuable framework for rethinking how we approach movement building and social change. By centering culture in our work and developing authentic relationships with communities, we can create more effective and sustainable paths to social impact.

His approach reminds us that successful organizing isn't just about what we say, but how and where we say it – and most importantly, whom we empower to carry the message forward.

Our Creative Activist Masterclass Series, supported by the US Embassy in Bulgaria, is a groundbreaking program designed to connect activists and civil society actors with some of the world's leading experts in strategic and creative communications, marketing, art, and social change.

Masterclass | The art of strategic nonviolence: Moving beyond protests

Following our enlightening session with Laura Ligouri on the neuroscience of empathy, our Creative Activist Masterclass Series welcomed Srdja Popovic – a living legend in the world of nonviolent activism. From a bass-playing biology student who specialized in fish to a leader who helped topple Milosevic's regime in Serbia, Popovic's journey embodies the transformative power of strategic activism.

"I never thought I'd become an activist or a civic leader," Popovic shared with disarming honesty. "I thought I'd be dating girls and working as a freshwater biologist—restocking the Danube with sturgeons." Instead, history had different plans. When Milosevic came to power, Popovic found himself leading Otpor ("Resistance"), a student movement that would eventually play a crucial role in bringing democratic change to Serbia.

Beyond the march: The rich tapestry of nonviolent tactics

The foundation of Popovic's approach, now taught through his organization the Center for Applied Nonviolent Actions and Strategies (CANVAS), is surprisingly simple: "There are only two types of movements in this world: spontaneous or successful." This insight has led to the development of a comprehensive tactical framework that goes far beyond traditional protests.

With over 200 different tactical options available, Popovic emphasized that success requires a diverse and carefully orchestrated approach. These tactics fall into three powerful categories:

1. Protest and persuasion: From petitions to demonstrations, these methods signal readiness for change. However, as Popovic noted, symbolic actions alone rarely transform society.

2. Non-cooperation: Including strikes, boycotts, and social ostracism, these methods allow widespread participation through low-risk actions that collectively challenge oppressive systems.

3. Nonviolent intervention: Methods like sit-ins and establishing parallel institutions directly challenge the status quo. While riskier, they can create powerful impact with fewer participants.

The strategy behind the action

Popovic (who is the author of the Bible for non-violent action, Blueprint for Revolution) emphasized that successful movements don't just collect tactics – they weave them into a coherent strategy. This requires three fundamental principles: a clear picture of the desired change, a detailed plan for achieving that vision, and the organizational structure to execute effectively.

"Strategy without tactics is the longest route to victory, but tactics without strategy are just noise before defeat," Popovic emphasized. He illustrated this with the example of Rosa Parks and the civil rights movement, challenging participants to think deeper: "They rarely ask why the bus boycott happened in Montgomery and why buses were targeted. Understanding that choice helps us understand why the tactic succeeded."

One of Popovic's most interesting insights concerned the choice between "tactics of concentration" (like mass protests) and "dispersion tactics" (like coordinated pot-banging or distributed actions). "The more egalitarian the system," he explained, "the more likely it is that dispersion tactics will work."

Popovic, renowned for his concept of laughtivism, also emphasized the powerful role humor can play in nonviolent struggle. He illustrated this with numerous examples, showcasing how humor can disarm opponents, reduce fear, and engage broader public support. 

The power of smart targeting

Before launching any tactic, Popovic stressed three crucial questions movements must answer:

1. Which institutional pillars do we want to affect?

2. What's our primary goal: mobilization, recruitment from the middle, or disruption?

3. What are the costs and benefits in terms of resources, authority, and potential reactions?

He also introduced the concept of dilemma actions – tactics that force opponents into a lose-lose situation. These tactics are strategically framed to put the opponent between a rock and a hard place – no matter whether they decide to respond or to ignore the action, they lose credibility. 

Popovic shared a valuable resource for activists: Tactics4Change, an interactive database of over 400 nonviolent dilemma actions from more than 100 countries. This collaborative project between CANVAS and Pennsylvania State University offers a wealth of creative tactical inspiration for activists worldwide.

Bridging empathy and action

What's particularly fascinating is how Popovic's tactical framework complements Ligouri's insights on empathy. While Ligouri taught us to navigate the delicate balance between empathic concern and distress, Popovic showed us how to channel that concern into strategic action. Together, these approaches create a powerful formula: emotional precision combined with tactical diversity.

As we continue our Creative Activist Masterclass series, these complementary perspectives on change-making offer Bulgarian activists a comprehensive toolkit. Ligouri's neuroscience-based approach ensures our messages resonate deeply, while Popovic's tactical framework helps us transform that resonance into real-world impact.

The key lesson? Successful movements need both hearts and strategy. Stay tuned for our next masterclass, where we'll explore another crucial dimension of modern activism.

Our Creative Activist Masterclass Series is a groundbreaking program, designed to connect activists and civil society actors with some of the world’s leading experts in the fields of strategic and creative communications, marketing, art, and social change. 

Masterclass | How brain science can transform social change strategies

We successfully kicked off our Creative Activist Masterclass Series – a groundbreaking program, designed to connect activists and civil society actors with some of the world’s leading experts in the fields of strategic and creative communications, marketing, art, and social change. 

Our first masterclass, "Empathy Redefined: Enhancing Advocacy with Emotional Precision," was led by the exceptional Laura Ligouri, founder and Executive Director of Mindbridge – a unique organization that utilizes psychology and neuroscience in support of human rights. 

Ligouri, with her unique blend of neuroscience and psychology expertise, brought a fresh perspective to the role of empathy in human rights advocacy. Here are the key takeaways that left our participants buzzing:

• The Three Faces of Empathy: Ligouri introduced us to a nuanced understanding of empathy, breaking it down into three distinct components: emotional, cognitive, and compassionate empathy (or empathic concern). Emotional empathy allows us to share feelings with others, cognitive empathy helps us understand different perspectives, and compassionate empathy motivates us to take action. This multi-faceted approach to empathy provides activists with a more comprehensive toolkit for connecting with their audiences and inspiring change

• The Double-Edged Sword – Empathic Concern vs. Empathic Distress: Perhaps the most eye-opening revelation was the distinction between empathic concern and empathic distress. While empathic concern can motivate action, empathic distress can lead to disengagement and burnout. Empathic distress specifically refers to the negative emotional response that can arise when witnessing or perceiving the pain, suffering, or distress of others. This response can manifest as feelings of sadness, anxiety, helplessness, or even physical discomfort. Ligouri explained how well-intentioned campaigns might inadvertently trigger empathic distress, causing audiences to tune out rather than take action. This insight challenges us to rethink our messaging strategies to ensure we're inspiring rather than overwhelming our supporters.

• The Neuroscience of Connection: Delving into the brain's empathy circuits, Ligouri shed light on how our neural pathways process empathic responses. Empathic concern engages the compassion network, and is associated with positive emotions and motivation to help others, while empathic distress activates the pain matrix, leading to personal discomfort and a desire to avoid further exposure to others' suffering. This biological understanding provides a scientific foundation for crafting messages that resonate on a deeper, almost instinctual level. By aligning our advocacy efforts with these neurological insights, we can create more impactful and engaging campaigns.

• Crafting Emotionally Precise Messages: Armed with this new understanding, participants practiced creating messages that evoke empathy without triggering distress. The key lies in balancing emotional content with solution-oriented narratives. By presenting challenges alongside actionable responses, we can inspire hope and motivation rather than despair and inaction.

• Measuring Empathy: A Data-Driven Approach: Ligouri introduced methods for quantifying empathetic responses in campaigns, bringing a new level of precision to communications work. Such techniques include pre- and post-viewing surveys, focus groups or interviews, behavioral metrics etc., which allow us to test and refine our messaging, ensuring that our efforts are having the intended impact. This data-driven approach marks a significant shift from intuition-based strategies to evidence-backed advocacy.

Ligouri's insights have the potential to transform our understanding and application of empathy in activism. Her neuroscience-based approach revealed that empathy is far more nuanced and complex than many had previously believed. The masterclass provided a new framework for creating emotionally resonant campaigns that inspire action rather than disengagement. 

Over the next several Creative Activist Masterclass sessions, activists will be able to meet four other leading experts and learn further about the principles of effective communication, the role of art, humour and play in societal change, and innovative tactics for engaging campaigns. 

Stay tuned for more updates!

Our Creative Activist Masterclass Series is supported by the US Embassy in Bulgaria.

New free illustration collection on climate migration

Ahead of Climate Week in New York City in September 2024, we revealed our latest free illustration collection – this time focusing on climate & migrant justice. We created it with Unbound Philanthropy, an independent grantmaking foundation seeking to contribute to a vibrant, welcoming society and an immigration system rooted in justice.

For this collection, we commissioned 20 outstanding global artists with migration experience, to produce illustrations that envision a just and vibrant society where migration is embraced as an adaptation to climate change; where we can all flourish, uphold human dignity, value diversity, and honor our common humanity. 

We also launched an open call for existing illustrations, for which we received 200+ submissions from around the world, and selected the works of 20 more brilliant artists.

All the resulting 40+ illustrations are published under an open license on our platform TheGreats.co, so that nonprofits, activists and educators can freely download, use and adapt them non-commercially to tell a different story about climate migration & justice – one that emphasizes that we are all in this together, for the better.

What’s more, during Climate Week in NYC, we had TWO exhibitions, featuring a selection of the artworks. 

We participated in NATURE TEMPLE, powered by Ancient Future Labs and Chilli, the first climate platform for direct digital action, at the Judson Memorial Church. The event explored bold climate solutions, tech for good and creativity. 

Photos by Josh Yoder for National Partnership for New Americans

We also teamed up with the National Partnership for New Americans to showcase a curated batch of the illustrations during their exhibition of Portraits of Climate Displacement at the Chinese-American Planning Council. 

How to use the illustrations? 

Beyond Climate Week, the collection can be used in so many ways – you can curate your very own exhibition, use the works in social media campaigns, plaster posters around town, use the illustrations to promote an event or discussion, or create rally placards to call for climate & migrant justice!

As per usual, all the artworks are published with both print and work files, which means that you can use and adapt them according to your needs – like change or translate the copy, add new text (or delete it), use different colors, or anything really to make the visuals effective in your own context. 

Help us spread the word! We’d love it if you share this collection with your friends, colleagues and community, so it’s accessible to everyone, everywhere.

Our 2023 Annual Report is out!

In bitter times, changing the world can taste so sweet. Unwrap our 2023’s highlights, in an annual report you wouldn’t want to miss. 

We believe that another world is possible – and work across issues, geographies, disciplines, and art mediums, to create change in hopeful ways. Our work in 2023 spanned a cosmos of transformative efforts – from public art interventions, installations, videos and illustrations, to bespoke trainings and experimental formats – all addressing pressing human rights & environmental issues.

Our stellar collaborations popped up across the globe – from Colombia to South Korea, from South Africa to Spain, and from Iraq to China. Last year we completed 23 projects in 19 countries; collaborated with 220+ creatives from all around the world; produced 304 art pieces, 21 exhibitions & creative actions; and rooted everything we did in sweet hope, play and openness.

To showcase all that delicious work, we put our print limited edition annual report on a chocolate wrapper. But our digital report is to be enjoyed by anyone and everyone – so step into the Fine Acts universe! 

Furthermore, our work in 2023 would not have been possible without the immense support of our key donors at Open Society Foundation, the Sigrid Rausing Trust, Ford Foundation, National Endowment for Democracy, and the Active Citizens Fund.

Interested to partner with us and create sweet change together? Give us a shout!

New Collection: Illustrating Democracy & Rule of Law

For many, the concept of the rule of law remains abstract and distant – and therefore, often incomprehensible. So we set out to change that. 

We’re launching a powerful new illustration collection, dedicated to exploring the principles of democracy and the rule of law through the lens of artistic brilliance. Picture this – 10 talented artists armed with pencils and pixels, embarking on a weekend odyssey to reimagine a society where the rule of law reigns supreme and bring it vividly to life through their evocative artworks.

SPRINTS isn't just an artistic rendezvous – it's a strategic intervention in the battle for hearts and minds. Over 48 intensive hours, visual wizards – illustrators, graphic designers, and typographers – converge to craft masterpieces that double as potent campaign materials. Their mission? To challenge norms, provoke thought, and ignite conversations on critical social issues.

“My artwork is inspired by the lack of timely action. Some things can’t wait long. Justice must happen now.”

— Tsvetelina Mitreva

At the heart of this edition of SPRINTS lies the paramount principle of the rule of law. It's more than just statutes and scales; it's the bedrock of a functioning democracy. Upholding this principle ensures equality before the law, safeguards fundamental rights, and fosters transparency and trust in governance. 

“The idea is to put an end to bad practices that drag on and on. It’s time for the game to be played by the rules. The more people play fair the more will follow suit because that too is contagious.”

— Nikoleta Nosovska

The resulting collection of illustrations is available online under an open license on TheGreats.co, our unique global platform dedicated to open-licensed socially engaged visuals. All these artworks, published in the Democracy collection on the platform, are free for non-commercial use and adaptation by nonprofits, activists and educators, to bolster their campaigns for justice, accountability, and human rights.

“The illustrations show the positive message of transformative change in the justice system. Building “muscle” takes time and demands discipline and a vision for the future.”

— Nicole Pavlov

As you scroll through these illustrations, envision a world where the rule of law isn't just a theory but a lived reality for all. Dive into our collection, share the stories it tells, and join us in championing a future where fairness and equality flourish.

Our massive Europe-wide art campaign illustrates the power of voting

Ahead of the European elections in June, we collaborated with 27 outstanding illustrators, one from each EU member state, to design a compelling poster collection on the power of voting. 

This effort was part of our Get Out & Vote campaign in support of European unity and values, which featured a series of activations across European cities; an AR exhibition; and a vast online activation to build momentum before the elections and inspire voter turnout.

DIGITAL CAMPAIGN

We launched a massive digital campaign to get out the vote. The collection reached over 850 000 people through our channels alone – and MILLIONS more through the platforms of our partners and collaborators. 

The works were spotlighted in dozens of media outlets across the continent, including Euronews, and were frequently amplified by the accounts of the European Commission, and the European Parliament. 

Tens of thousands of people shared the works online, and the nonstop WAVE of posts on election days (6-9 June) was astounding.  

“Participating in democratic elections is our chance to shape our democracy, to “choose our players/fighters’’: our leaders who will act as our proxies making the decisions that shape our lives.”

— Dorottya Kranicz (Hungary)

FREE DOWNLOADS

All works from the collection were published under an open license on TheGreats.co, our unique platform for social impact visuals. 

Activists and organizations across Europe downloaded them over 2,500 times and used them to create a buzz in their communities – through social media posts, articles, postcards, and so much more!

EXHIBITION IN A BOX

Furthermore, we also created a digital ‘Exhibition in a box’, equipped with 27 ready-to-print posters, to help anyone, anywhere, set up their own pop-up exhibition. 

The toolkit was widely disseminated across our network and communities. Teachers, librarians, nonprofits and active citizens from across Europe reached out to get the box, and host their own exhibits!

POP-UP EXHIBITIONS

Our campaign also featured numerous pop-up exhibitions and art actions across Europe – in Hungary, Italy, Romania, Bulgaria, Germany, amongst others, with some amazing partners. 

HIGHLIGHTS include 11 LED video wall displays in Vicenza (Italy) and the province, organized by TEDxVicenza; a voting gathering and exhibition in Debrecen (Hungary), powered by a local nonprofit Alternatív Közösségek Egyesülete; poster projections by Emberseg Erejevel and Open Spaces Network in the heart of Pécs (Hungary); and a poster stunt at Berlin's (Germany) Brandenburg Gate hosted by the campaigning group Avaaz, all aimed at inspiring citizens to participate in the elections. Artists also participated in our Hide & Seek digital challenge, in collaboration with Avaaz, that aimed to increase local community engagement.

In Sofia (Bulgaria), the campaign's first exhibition was held near the National Palace of Culture with the support of the European Parliament Local Office, and the Sofia Municipality; while university students in Blagoevgrad (Bulgaria) organized campus poster actions. Bucharest (Romania) saw pop-up actions organized by the nonprofit Centrul Filia across the city in popular venues such as coffee shops, restaurants, and social bars, further spreading the campaign's message of hope and the importance of voting.

“I wanted to make it clear that voting is the pragmatic answer to the question ‘How can I, one person, change the world for the better?’. If you find yourself wishing for a magical solution to, say, stop climate change, or preserve human rights, or fix the economy – well then, good news.”

— Maria Surducan (Romania)

In addition, many activists and nonprofits created their own actions – such as a postcard campaign in Cluj-Napoca (Romania) featuring a selection of the illustrations; or a full-blown exhibition in ARTA, a former chocolate factory, located in Piestany (Slovakia). Through all these creative efforts, the campaign engaged and activated citizens across the EU, and motivated people to vote.

AR EXPERIENCE

In addition to these physical activations, together with our partners ArtLink, we also launched an augmented reality exhibition. It allowed anyone to place and share the works anywhere in their surroundings. This innovative approach allowed everyone to become part of the movement, bringing the campaign’s powerful message to life in both digital and physical spaces.

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THANK YOU to everyone who helped us show that democracy is beautiful. Through this campaign, we started a wave, and observed a strong progressive movement in action across Europe. Despite the fact that parties on the populist right made gains in many countries during the European Elections, we stand hopeful and will continue our ongoing efforts, together with numerous partners, to ensure that democracy remains resilient and inclusive in Europe, with people power at the heart of it.

This project was made possible thanks to the financial support of the Culture of Solidarity Fund powered by the European Cultural Foundation in collaboration with Allianz Foundation and Evens Foundation.

Celebrating Workers’ and Housing Rights

Illustration: Hannah Moren

Illustration: Oliwia Bulanda

For Labor History Month, together with our partners the Miami Workers Center, we launched the Dignity For All open call to highlight the critical issues of workers’ and housing rights. 

The call attracted nearly 50 submissions from talented artists across the US and beyond, each contributing their unique perspective on the themes of solidarity and community.

10 artworks that exhibit an exceptional relevance to the topic of workers’ and housing rights were selected as finalists. The awarded artists include Hannah Moren, Caro Gutierrez, Bibi Sakata, Nikita Abuya, Michael Kim, Susie Oh, Oliwia Bulanda, Preeti Singh, Tsveta Pesheva, and Tara Tabassi. 

Illustration: Preeti Singh

Illustration: Susie Oh

In addition to the finalists, three Honorable Mentions were also announced – for Trevor Messersmith, Tsvetelina Mitreva, and Nitya Bellani. 

Illustration: Trevor Messersmith

Illustration: Tsvetelina Mitreva

The resulting collection of 13 captivating illustrations is available online under an open license on TheGreats.co, our unique global platform dedicated to open-licensed socially engaged visuals. All these artworks, published in the Labor Rights collection on the platform, are free for non-commercial use and adaptation by nonprofits, activists and educators, ensuring that the messages of equity, dignity, and justice continue to spread far and wide.

This collection once again underscores the importance of visual art in promoting social justice. By showcasing diverse characters and hopeful visions for the future, these illustrations provide a powerful tool for advocating for workers’ and housing rights, highlighting the interconnected struggles and the resilience of communities fighting for a better world.

Our School for Strategic Creativity: Building the power to spark change in the Western Balkans

In response to the concerning trend of shrinking space for civil society across the Western Balkans and beyond, Fine Acts launched the pilot edition of The School for Strategy Creativity, our groundbreaking academy on innovative approaches to creative campaigning and communications. 

The first edition of the School, supported by the National Endowment for Democracy, spanned a year and engaged 20 leading civil society organizations from Albania, Bosnia and Herzegovina, Bulgaria, Kosovo, Montenegro, North Macedonia, and Serbia, to embrace strategic creativity in their social mission. 

Photo: Participants and mentors in the third module of The School for Strategic Creativity.

The School for Strategic Creativity encompassed three extensive, highly interactive modules. The initiative focused on equipping participants with innovative methods for audience engagement, utilizing art, play, hope, and creativity as powerful tools for advocacy and campaigning. Throughout the program, participants were introduced to core concepts and insights related to the science behind what makes people care, playtivism, and hope as a pragmatic strategy (see more about hope-based comms). 

“The School provided us with a break from our routine, shifting our minds to rethink and potentially restructure some of the communication patterns we are holding to.”

— Vladan Đukanović, Humanitarian Law Center (Serbia)

The first module explored the significance of visual communication for nonprofits. Participants delved into the why and how of visual framing, gaining insights into the profound impact of visual content on audience perception and engagement. Through interactive sessions and case studies, they learned to effectively utilize images to maximize impact and align visuals with overarching narratives.

“Learning how to effectively communicate complex ideas through visuals and creative strategies has equipped me with extra valuable skills that I can apply in various aspects of work.”

— Hyrije Mehmeti, Kosovar Civil Society Foundation (Kosovo)

The second module of the School focused on the intersection of art, creativity, and activism in campaigning. Participants learned to use the emotional power of art to drive social change while strategically planning creative campaigns for long-term impact. They acquired practical knowledge and skills to improve their advocacy efforts – frequently hindered by media control, negative perceptions of civil society organizations, and resource constraints – through lectures, discussions, interactive exercises, and real-world examples.

“One key takeaway from The School for Strategic Creativity was harnessing the power of art and creativity as tools for communication and expression. [This was] a significant skill I developed during the training. Engaging art into campaigns and creations not only adds depth, but also enables effective storytelling and connection with audiences on a deeper level. This skill has since positively impacted both my professional work and personal life. ”

— Irina Vijatović, Civic Initiatives (Serbia)

The final in-person module – the Creative Playground – took place in Sofia, Bulgaria, in Resonator, one of the most innovative creative spaces in the city. For it, we brought together a select group of six organizations to develop and accelerate their creative campaign ideas to promote civil rights and democratic values across the Western Balkans.

Over two intensive days, our bootcamp participants worked on problem definition, ideation and mapping out a sound campaign strategy. Guided by a pool of mentors and experts from the communications, human rights, advertising and creative fields, participants deep dived into brainstorming techniques and exercises to refine their ideas, embed creative hooks, and craft narratives and slogans, with the potential to engage citizens. 

“The most valuable aspect was the approach The School offered us with plenty of research-based resources, tools, and artistic and commercial references we can immediately put into practice.”

— Ema Štefanac, Civic Initiatives (Serbia) 

This third in-person module served as a culmination of the training program, allowing participants to put theory into practice under the guidance of experienced professionals.

In between the modules, participants also received tailored individual 1:1 consultations regarding campaign ideas, social media strategy, communications etc. In the weeks after the event in Sofia, the participants of the School were also offered the opportunity to be further mentored by Fine Acts, and the external experts, through dedicated online consultations.

“Attending The School for Strategic Creativity was genuinely an unforgettable experience for me, significantly broadening my horizons and offering new perspectives on the utilization of artistry and activism. Previously, I hadn’t considered the practical application of art in everyday work—at least not in my current role—but this program has entirely reversed my outlook. The structure of the school itself was exceptional, and we were well-equipped with theoretical knowledge before diving into practical work, which led me to discover many new things.”

— Biljana Popović, Center for Development of Non-governmental Organizations (Montenegro)

Fine Acts' School for Strategy Creativity provided civil society organizations in the Western Balkans with invaluable tools, knowledge, and mentorship to enhance their strategic communication capacity, effectiveness and visibility. "Art and creativity can bring us inspiration and motivation when everything else fails, and it can be the moving force to keep us going even when we think it is impossible," shared Ema.

15 artists unite in support of Ukraine

Together with our partners at Friedrich Naumann Foundation for Freedom (FNF), we launched a remarkable collection of illustrations on the topic of Reshape Europe – The Future of Ukraine to highlight hope and courage in the face of the ongoing conflict. It is part of Being Ukraine, our series of creative collaborations on the immense power and resilience of the Ukrainian people.

To create the collection, we brought together 15 talented artists from 9 European countries for SPRINTS, our creative bootcamps, in which visual artists are given a thrilling challenge: a mere 48 hours to conceptualize and craft compelling visual artworks that address a specific issue. 

The participating artists are as follows: Anina Takeff (Bulgaria/Germany), Carilla Karahan (Türkiye), Ieva Ragauskaitė (Lithuania), Janine Rwell (Finland), Judit Zengővári (Hungary), Maks Graur (Moldova/Romania), Marta Leshak (Ukraine), Olga Mrozek (Poland), Oksana Drachkovsk (Ukraine), Rozalina Burkova (Bulgaria), Tania Yakunova (Ukraine), Tanya Shyika (Ukraine), Teo Georgiev (Bulgaria/Finland), Tetiana Korniichuk (Ukraine/Lithuania), and Veta Yatsenko (Ukraine).

It is a critical time for democracy in Europe. Тoday, we find ourselves facing a new set of challenges that threaten to undermine the progress made so far – from the rise of war, authoritarianism and far-right leaders to the erosion of common democratic values in many countries within the EU and beyond. The SPRINTS initiative is part of FNF's global campaign #ReshapeEurope to strengthen Europe’s resilience. Together, we tapped into the potential of artists’ creativity and visionary talent to unleash hope and solidarity, while demonstrating the unwavering spirit of the Ukrainian people amidst the ongoing war. 

The resulting collection of 22 captivating illustrations – with versions in English and Ukrainian – is available online under a specific open license on TheGreats.co, our unique global platform dedicated to open-licensed socially engaged visuals. This means that activists, organizations, and educators around the world can freely use and adapt these artworks non-commercially for their communications and campaigns in support of Ukraine.

“In the fight for human rights, hope is not just a strategy; it's a promise of a brighter future. Our SPRINTS format brings together visual artists to create artworks on a specific human rights issue, rooted in hope. This serves to imagine our future and acts as a compass to take us there. The bootcamp is a unique platform for illustrators, graphic designers, and typographers to amplify their creative voices and contribute to meaningful societal dialogues,” says Fine Acts.

Artists were able to choose between two topics to work on – portray the remarkable resilience and courage of Ukrainian people in the face of conflict, highlighting everyday acts of resilience, heart, and strength, or depict and encourage solidarity across Europe by illustrating what support looks like, including donating, volunteering, and countering disinformation to humanitarian aid, and reaffirming acts of solidarity.

Exploring Iceland’s creative pulse

Embarking on a journey to the land of fire and ice, our visit to Iceland was a quest to delve into the very heartbeat of a nation, to meet pioneers of innovation and creativity, nestled within its nonprofits, creative communities, and industries. 

Our participation in the Active Citizens Fund under the EEA Financial Mechanism, funded by Iceland, Liechtenstein and Norway, took us to the island to explore how their unique experiences could be harnessed for crafting ingenious campaigns that spark change and ignite hearts. Over the course of a week, we probed potential partnerships, collaborations and learning opportunities with local nonprofits in the human rights and environmental sector as well as the established and emerging creative circles.

Meetup with Iceland’s human rights and environmental activists

On our first day, we met with our local partners the Icelandic Human Rights Centre, an independent organization that works to advance human rights through the promotion of research and education on and raising awareness of human rights issues in Iceland. Together, we hosted a meeting to connect with organisations working across Iceland on issues from LGBTIQ+ and women rights to refugees, disabilities, environmental protection and citizen engagement & democracy – including the Queer Alliance, Young Environmentalists, Disabilities Alliance, Women's Rights Association, and Hringsjá. 

After a short presentation of our work at the intersection of art and human rights and environmental issues – including the sharing of a wealth of resources for nonprofits such as our unique formats that engage artists in society’s key challenges, as well as our platform for free socially-engaged art TheGreats.co – we delved into the challenges in front of organisations in Iceland. They shared their experience working on creative campaigns, the practice of engaging artists, noting that they hadn’t fully explored this approach, and discussed their desire to expand their audience engagement and communications in new directions.

Our meeting left us all brimming with ideas for future mutual collaborations on socially-engaged art projects and creative campaigns, and potential trainings, which we can’t wait to explore. 

Tapping into the tech and ad minds of Iceland

Our visit also led us to connect with several tech companies in Iceland working with VR technologies. We spent an afternoon with Aldin, a pioneer in high-quality, believable reality experiences for people from all walks of life. Their goal is to leverage the unique power of the VR/AR medium and AI to inspire people to imagine new realities and experience things that have never been possible in history. They showcased the latest developments in the field, allowing us to do a live testing of their cornerstone game, and we discussed the possible applications of VR in social campaigns.

Next we met up with Gagarin, an Icelandic company that specializes in interactive multimedia and design. They provide services in areas such as exhibition design, interactive installations, multimedia production, and user experience design. Known for creating engaging and innovative experiences using technology, and design to convey information and tell stories, particularly around cultural heritage projects, together we explored avenues of combining our forces to create such experiences around human rights and environmental issues. 

Gagarin impressed us with their intricate and unique approach of working, often involving extensive research and the set up of cross-disciplinary teams. Having worked with numerous institutions and organizations such as Amnesty International, they have created large-scale exhibition sites such as Klimahuset, a new museum for climate change in Norway, to digital campaigns such as Our Atmosphere, that features an animation on how we can all influence emission figures in the fight against climate change. 

Visiting Iceland’s cultural institutions and galleries

On our following days, we submerged ourselves in the cultural scene to understand both the cultural landscape, the possibilities of engaging with Icelandic artists, and potential partnership areas. 

Our first stop was the Icelandic Art Center, a prominent institution dedicated to supporting and promoting contemporary visual art in Iceland. It serves as a hub for artistic exploration, innovation, and collaboration, both within Iceland and on the international stage. The center plays a vital role in nurturing the country's art scene and facilitating connections between Icelandic artists and the global art community. Our hosts walked us through the new art policies in Iceland, opportunities for connecting with Icelandic artists and collaborating on producing artworks in Iceland and abroad, and engaging new and hard-to-reach audiences because “[the public] should be a part of it.”

In our next stop, we learned about the “if you can do it, I can do it” spirit of Icelanders with the Iceland Design and Architecture organization, which aims for progress in design and architecture in Iceland focusing on sustainable development. Its role is to facilitate and promote design of all kinds as a vital aspect of the future Icelandic society, economy and culture. We were vastly inspired by their key activities, including the running of the annual DesignMarch festival, which showcases the best local design alongside international names, their Design Prize, and Design Fund, which allocates grants to diverse projects in the field of design and architecture in Iceland. Finally, our hosts introduced us to powerful design initiatives that are accelerating the green transition through design, pushing for a low environmental footprint, and enabling the circularity of materials. 

On top of all that, we also decided to explore Iceland’s incredible cultural scene, known for artists such as the singer and songwriter Bjork, large-scale installation artist Olafur Eliasson, and contemporary artist Ragnar Kjartansson. At the various venues of Reykjavík Art Museum, the leading art museum in Iceland, we were fortunate to get a glimpse of a number of outstanding exhibitions, including the Icelandic 20th Century Art exhibition, featuring artworks from its 20th century collection, as well as the third edition of Kaleidoscope: Icelandic 21st Century Art, featuring a collection of artworks from the Icelandic art scene in the last two decades, both by recognized artists of the time as well as the work of younger generation of artists. We also enjoyed several other exhibitions, including Cunning Scissors, powered by Erró, a visual artist, who is best known for his painted pop art collages of images from comic books and advertisements, and among the most prominent figures of the European avant-garde of the 1960s. 

In addition, we made our way to the National Gallery of Iceland, the primary national art museum of Iceland whose collection comprises a diverse range of artworks, including paintings, sculptures, prints, and drawings, mainly created by Icelandic artists. There we viewed Glassrain, a 1984 installation, one of the first of Rúrí‘s many works that address the theme of time and menace.

As we crisscrossed Reykjavík, we also peeked into various spaces in the city – from Andrými, a radical social center and an open space for grassroot groups and individuals to meet and organise, to Mengi, a creative space in downtown Reykjavík curating weekly events focused on experimental art & music.

Connecting with the vibrant creative community

In our last days, we visited Bio Paradis, a gorgeous independent cinema that looks like something out of a Wes Anderson film, to connect with some of the members of Post-dreifing, an art collective, mostly made up of young artists, coming from different corners of the Reykjavík grassroots scene. The group's main goal is to build visibility and self-sufficiency for artists through collaboration. With nearly 50 artists and musicians making up the collective, they host an impressive annual festival in northern Iceland and regularly organise concerts and other activities, including supporting the refugee movement.

We also met up with the organizers of Fúsk – an ideal-driven laboratory, a creative platform, a community hub, a playground for creatives, and so many other things. In Icelandic, it translates to: ‘doing something even if you haven’t figured it all out yet,’ but probably not quite. Although they are at the moment searching for a new space, Elín Margot, Director of the Product Design program at the Iceland University of the Arts and an artist with a socially-engaged practice involving gender, food and activism, noted that they welcome projects that will feed and strengthen the community. In this role, she is also the Program Director of RUSL, a sustainable design festival focusing on circular thinking and its application within art, design and culture. At the end of our meeting, Elín took us on a tour of the university campus, alive with a diverse range of art studios and workshops.

These vibrant creative networks are all about transforming our community as well as how we work in the process. We were left inspired, thinking of new ways to engage local artists in our formats such as Labs, where we match artists and technologists to ideate solutions over the course of a weekend for our greatest social and environmental challenges. 

Catching the last days of Pride in Iceland (also called Joy Parade), we got a glimpse of a Reykjavík that is loud and proud – adorned with rainbows around every corner, including at the city’s main church, alight with the hues of love, diversity, and boundless acceptance.

We look forward to what’s to come.

We partnered with CoGenerate to imagine a cogenerational future!

We are living in the most age-diverse time in human history, and yet many of our societies are deeply age-segregated, with few opportunities for generations to connect in daily life, much less combine their talent. Imagine what could be achieved if all generations came together for change. Huge potential lies in harnessing the energy, ideas and experience of different generations to tackle everything from global poverty and homelessness to racism and climate change.

To imagine a new way forward, we teamed up with CoGenerate – one of the leading social-impact organizations in the US dedicated to making the most of our increasingly multigenerational society – to produce an open-license collection of diverse illustrations and symbols that depict generations working together to solve our greatest challenges.

Together, we commissioned 29 artists from around the world to create illustrations and symbols that reimagine what we can achieve if we bring generations together. 

We also launched an open call for illustrations on the same topic, with a focus on a hopeful vision for our collective future. We received 91 submissions by 47 artists from all around the world, and selected 5 finalists and 3 honorable mentions. 

Our goal was to create a unique collection of visuals so that anyone can use and adapt them free of charge, to show the power of cogeneration. With more than 50 artworks, the collection is a tool for nonprofits, activists and citizens globally to call for — and build — a multigenerational force for good. All the works are published under an open license on TheGreats.co, our unique platform for free social impact art. 

Browse the collection and download your favorites to use in your future campaigns!

Labs are back with a bang to change climate change!

Climate change – the greatest challenge of our time, with rising temperatures and ecosystem degradation threatening life on Earth – was at the heart of our latest Fine Acts Labs edition. `

After an unavoidable three-year pandemic break, we brought back our renowned Labs series in June, with two simultaneous events, an in-person one and an online one – both focusing on climate change and climate justice. 

Labs is our original format where teams of artists and technologists work together over a weekend to prototype ideas that raise awareness or provide solutions for a specific problem. The ideas should merge the power of art to translate pressing issues into a language that makes people care and act, and technology, a tool that fuels solutions, participation and experiences. A jury then awards one idea with a grant for further development. 

And the best part? We play! Labs is an example of our concept of playtivism – which refers to the process of incorporating play and experimentation in activism. We see multidisciplinary, creative play as essential to human rights and environmental work – as play sparks better ideas, and can be an antidote to the high levels of burnout and depression amongst activists.

The live international edition featured 7 brilliant creative duos from 6 countries. It was hosted at Resonator, a unique creative tech hub in Sofia, Bulgaria, with all sorts of laboratories at its disposal – from electronics and sound to XR and fabrication.

The seven teams were strategically paired prior to the event. As intense ideation work kicked off after a short series of practical lightning sessions on the topic, examples of socially-engaged artworks, teamwork, productive brainstorming and more, many participants found themselves genuinely clicking with their partners. Energies matched, skills and interests complemented and enhanced collaboration. “It has been enlightening to see how many people of different backgrounds can come together, and to learn that I myself can easily collaborate so freely with someone I don’t know,” said one of the participants Zhelev Atanasov. “The biggest surprise is my partner – what a great match! We’ve been able to fit together perfectly,” said Lucian E. Matei. “In the right circumstances you can accomplish good results even with people you just met,” said Boril Obreshkov. 

Over the course of the Labs, the creative teams of artists and techies worked tirelessly to bring to life ideas which addressed the climate crisis with and through hope. Ideas bounced, formed and disintegrated to be reshaped and reformed anew. The teams tapped into a diverse pool of mentors – from prominent climate activists to renowned artists and experienced techies. Clear guidance and support were provided through structured mentoring sessions, as well as access to the mentors at all times. On the second day the mentors shared that they observed immense progress after seeing where each team had landed in the final stretch before pitching in front of the jury.

The atmosphere was electric as imagination ran wild while teams prepared prototypes and presentations. At the end of the intense weekend, teams took to the stage one after the other. It quickly became clear that all participants had gone beyond the shallow waters of practical problem-solving and delved into their own inner worlds to come up with well-rounded complex creative ideas. They were solution-oriented and grounded in science but also deeply rooted in hope and refined to a high conceptual and artistic standard. 

The ideas ranged from a shared merch bank tackling the problem of the wasteful swag industry with grace and humour, to a forest memorial park, powered by the community and made out of the wooden scraps found at deforestation sites. From a video game with a time-traveling protagonist set in a dystopian future with the chance to go back in time to reverse climate change, to a gamified interactive installation raising awareness of e-waste and its harmful effects. From a thought-provoking gun-shaped public art installation made from old oil barrels urging viewers to confront climate change head-on, to an interactive hologram of Earth under water, helping us visualize the healing power of collective effort on this planet in the here and now.

The selection process was incredibly hard – but one idea stood out and captured the attention of the jury. After a rigorous deliberation process, the jury awarded Katerina Vaseva and Daniel Haas who showcased It’s Fine – a digital platform and video installation that transforms all the ‘good’ and ‘bad’ parts of humanity into natural landscapes and sounds. Its goal is to create a shared space where we can contemplate what the world without humans would look like, what we stand to lose, what would remain, and who really needs saving. Input images will be sourced from people around the globe, and anyone will be able to upload an image to see it transform. The work’s main message: Nature can live without us, but we can't live without nature.

“My personal hope is that every person realizes that every small action helps. Big change doesn’t come in a day and it requires all of us to contribute. I hope to see more people do their part in solving the climate crisis.”

— Plamen Pekov (participant)

The winning duo received a grant of 5 000 USD to bring their vision to life by November, in collaboration with Fine Acts. But Katerina and Daniel are not the only ones who will receive ongoing support. All other teams looking to implement their ideas will receive mentoring and organizational support from us and our vast network. 

This latest Labs edition was a powerful reminder of the pivotal role of interdisciplinary work in solving large-scale social and environmental issues. The diverse array of perspectives of artists, activists and technologists allowed teams to develop more complex ideas for immediate solutions. And through a weekend’s worth of collaboration and introspection a deep sense of hope appeared in all of us present. That change is possible.

Stay tuned for our article on our second Labs!

Bahia Shehab: Art should be at the forefront of all important conversations

Photo: Amr El-Harery

In the aftermath of COP27, the 2022 United Nations Climate Change Conference, we spoke with Bahia Shehab, brilliant Egyptian-Lebanese contemporary artist, with whom we collaborated on Heaven & Hell in the Anthropocene, an experiential artwork, exhibited at the climate summit. The work informs the audience on the possible futures we face as humans if we do – or don’t – change our attitudes towards the environment. 

The installation is composed of two adjacent rooms: one representing heaven and the other – hell. Participants do not know which of the two “scenarios of eternity” they will be engaging with, as from the outside the rooms look entirely identical. Before entering, each visitor is given a page from a gamebook (printed fiction that invites the reader to participate in the story by making choices). Based on their choices, and respective sustainability score, visitors are guided to enter either Room 1 or Room 2 – where all their senses are targeted by very different sights, sounds, temperatures, and smells.

See what Bahia has to say about the best moments at COP27, creating immersive experiences and using art to spark conversations and fuel social change.

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What inspired you to create Heaven & Hell in the Anthropocene? What is the ‘legacy’ you hope it leaves? 

When I was approached by Fine Acts, Yana [Fine Acts’ executive director] gave me an insight for inspiration – how body temperature can affect our decision making process: namely, that people sitting in warmer rooms are more likely to say that ‘global warming’ is a problem. I wanted to present this in a more visceral and conceptual way at the same time. Heaven and Hell are two concepts that are familiar to everybody, and they're also linked to concepts of eternity. So to me, it was crucial to translate a scientific insight into a conceptual one that is accessible to the masses.

 For the legacy that I hope it will leave, I think what's important at this point is that we start opening up the conversation, to include everybody. Because these conversations have been happening behind closed doors for a long time. They have been largely between governments, stakeholders in the private sector and the scientific community.

Most of the time everybody else is left out of these conversations. So what the artwork hopes to accomplish is to create a tunnel, create a space, where these two worlds can come together and have a difficult conversation. The legacy of the artwork, I hope, is to be an icebreaker. 

What was the thinking behind creating an immersive experience? 

I was interested in creating an immersive experience because I wanted people to feel and not think. Thus, in collaboration with the curator Yana, we made the decision to have close to zero visual or textual communication inside the space. 

Photos: Fine Acts & Amr El-Harery

We were met by a lot of questions at the door. People would read the exhibition name from a distance and they would walk up to us and ask, what is this? I think it was important to spark people’s curiosity first, but then to make the body think, not the mind, which is a really challenging exercise because the mind always wants a rational narrative.

And what we wanted to provide is a visceral one, a really urgent one. So when you feel it instinctively in your body, you understand that it's dire – that we are all going to literally burn if we don't do something collectively about it.

Were your expectations met by the visitors’ reactions?

It actually went beyond our wildest expectations. I had no idea how people would react. I was worried that maybe they would not understand, that maybe I was asking too much of my audience. But I think the gamification component did the trick. Everybody wanted to play.

Photos: Amr El-Harery

We had over 3000 visitors. I saw people from all around the world come and play. Some were curious, others fearful. Some people passed by to ask what it was, and when we told them, they were literally too scared to walk in. 

And to me that's a great insight – there is fear. And those who were courageous enough to walk in and play, were met with a series of decisions that they had to make, that would determine their destiny on the spot. This was really beautiful to see unraveling. People from different walks of life, from different parts of the world, from different social backgrounds, from different academic backgrounds – they all reacted in a very similar way.

Most people wanted to see heaven and then see hell, and vice versa. Most wanted to understand how their decisions affected the bigger picture. The fact that the artwork gave people agency – this was the most amazing thing. To witness how people felt empowered that if they keep the water tap on, their score goes down, or if they reuse their towel, their score goes up – in the same way that they might be judged on whether they go to heaven or go to hell. So that was really beautiful to witness. 

So, yes, it was really heartwarming to see how the installation was received. People understood it. They played, they reacted. There was a lot of laughter. There was a lot of joy. And to me, the most important thing is that people enjoy the experience – this is what makes it memorable for them.  

So they walk away reflecting on things – not just as consumers of art, but as reflectors. They walked away reconsidering their own personal experiences, their daily decisions – and seeing how they can help tackle climate change.

What were the most surprising and most favorite reactions from participants in the installation? 

There were so many! There were two men who were dancing and singing: “Heaven, I'm in Heaven,” when they got to heaven. Then there were little children, who were jumping around Heaven saying: “Oh, we are in heaven. We made it to heaven!” To me, it was the extreme emotional reactions that were the most beautiful to witness as they revealed so much about the people playing and their personalities.

Of course, I had people who walked in and out and said: “We still don't understand.” And I felt like I needed to be sometimes more literal in my explanation. But most people got it right away, and that was wonderful. 

As an artist, activist and historian, what, according to you, is the role of art for climate action and shaping the climate movement?  

To me, the reason why we worked so hard to make it to COP27 this year is because I believe that art can be part of the bigger conversation. We don’t create art only for society’s  entertainment. We're not there just for consumption. Art is a tool for social change. I always believed in that, and in activating the artistic process to serve the community, to help us tackle serious issues, to help policy makers realize that art can be used as a tool in disseminating knowledge, in shifting public perception, and in creating more awareness. 

Photos: Fine Acts and Amr El-Harery

Other artists might dream of being at major artistic events – but to me, being at COP27 was the statement. As an artist, delivering work at such a high profile and urgent conference was really important.

Talking about the role of art, generally, globally, there is now a conversation about “where does art go”. Does art go in the museum? Or is art on the street? Where do we go with art? To me, as an artist, I feel that art should be at the forefront of all important conversations, like the ones that have to do with the climate now. Art is a facilitator. It's the soft power. We should be building on our soft power as humanity to correct the mistakes that we have done to the planet.

What value do you see in sharing your artwork under an open license for people to recreate? Is there already interest for next editions of the artwork?

I come from a street art background. So art for the people is my driving force. I believe in the accessibility of art. I believe that art should be where it's most needed – for the people who don't have the tools or the ability to enjoy it, or the luxury or the background or the facility or the tools to consume it and to use it and for it to change their lives. 

Art can indeed change lives and it should be present in places where it can play that role of creating social change. So for me, creating an artwork under an open license is an amazing opportunity to share the vision, the thinking process and the tools to create social change. 

This is why I'm really excited. We've had so many teachers walk through the installation and ask for a more affordable, DIY edition of the artwork – and now we are working with Fine Acts on developing a more mobile, cheaper version of this concept. It's a game. It's amazing for children. 

On the last day, we were visited by children from an orphanage. Their teachers brought them to see the artwork. They were five to eight years old. They were very young children, but their teachers made an effort to bring them all because they saw the value in their students experiencing such an artwork. So I would like for this artwork to be accessible to teachers, as well as to climate groups, and to anybody who needs it as an educational tool to help their community.

The next edition of the artwork is actually going to be in March, 2023 on the American University in Cairo campus. It will be open to our university community. It will be also used as a testing ground, as a seed for other universities and other schools to experience it. It will be similar to what was created at COP27, but we are hoping to create a faster, cheaper DIY Heaven and Hell that anybody can use to create change in their community.

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About Bahia Shehab

Bahia Shehab is an artist and author based in Cairo. She is Professor of design and founder of the graphic design program at The American University in Cairo. Her work has been exhibited in museums, galleries and streets around the world. Through investigating Islamic art history she reinterprets contemporary Arab politics, feminist discourse and social issues.

She has received a number of international recognitions and awards, which include the BBC 100 Women list, a TED Senior Fellowship, and a Prince Claus Award. She is the first Arab woman to receive the UNESCO-Sharjah Prize for Arab Culture and is shortlisted for the Tällberg Foundation’s 2020 Eliasson Global Leadership Prize. Shehab holds a PhD from Leiden University in The Netherlands and is the founding director of Type Lab@AUC.

Her publications include You Can Crush the Flowers: A Visual Memoir of the Egyptian Revolution, At The Corner of a Dream, A Thousand Times NO: The Visual History of Lam-Alif and the co-authored book A History of Arab Graphic Design.

How to select effective visuals for your next campaign

Illustration: Aysha Tengiz for Fine Acts x OBI 

Insights from behavioral, cognitive and neuroscience studies tell us that opinions change NOT through more information and dry facts – but by empathetic and compelling experiences, visual communications and effective storytelling. That’s where visuals come in: our brains are hardwired for visual content. Coupling our campaigns with powerful imagery can help us get attention, facilitate retaining information, and provoke an emotional response and action.

But how to know which are the right visuals for your next human rights or environmental campaign? Below are some tips based on our multi-year work with hundreds of artists and nonprofits. We’ve written these mainly with illustrations in mind, but they very much apply to other forms of visual art, such as photos, videos, etc., that accompany our campaigns and communications.

• Consider your context. There’s no one-size-fits-all approach. As a rule, art has the potential to communicate important messages in a creative, impactful and engaging way; and powerful visual content on social issues raises visibility and engagement, and fosters understanding and empathy. However, depending on your context, a visual could be truly effective or have no impact at all. More than anything here, consider your audience and what content would resonate with it. 

• Don’t forget about representation: Do the people in your creative reflect the diversity of your audience? Are you reinforcing gender or racial stereotypes with your visuals? What we’ve seen again and again is that reflecting your target audience in your visuals is key to getting your message across. It’s much easier for someone to imagine themselves engaging with your campaign if they see someone that looks like them represented in your campaign creatives. Various A/B tests we’ve performed with illustration sets across geographies showed us that in each country different visuals triggered engagement, depending on the familiarity of the characters in the creative and which ones they could associate more with. Reflecting your community in the visuals you use can mean thinking about gender, religion, race, disability, sexual orientation etc.  Overall, it is not advisable to use generic illustrations or stock photos.

• Diversify your visual imagery: Different types of imagery and visual symbols emotionally appeal to your different audiences. Our tests have shown that in some countries, the classic protest pose imagery received more engagement, while in other countries, other less used types of imagery and symbols were more appreciated. Always test the visual imagery that you use to see what gets more engagement.

• Inspire hope and awe: When choosing your visuals, whenever possible make sure that the artwork does not rely on a dry, edifying, dark or aggressive tone, but on the contrary – it connects on a human level by provoking empathy, it empowers and inspires hope. Don’t use visuals that simply reflect the direness of a situation, or ‘what it is’ – be more interested in what ‘it could be’. Aim at inspiration, excitement, bringing hope, activation, aspiration.

• Craft effective slogans: When crafting your slogans, don't just tell people what you oppose, also tell them what you stand for. Use hope-based communications in your messages and slogans to share your vision. People want to join something bigger themselves and be part of the change. Also, make sure to align the copy you are using with your visual/illustration. The copy should not repeat, but should complement the illustration. Avoid using slogans that are too obvious, or include possible trigger words that could lead to getting your post banned on social media.

Consider these tips next time when you’re commissioning an artist, or when you are selecting an illustration from our unique platform for free social impact visuals TheGreats.co – published under an open license and allowing non-commercial use and adaptation. 

Want to know more about effective visuals? Dive straight into Seeing Hope – our visual messaging guide for human rights developed in collaboration with Thomas Coombes of hope-based comms. It offers the human rights movement a new visual vocabulary, one that shows what it looks like to enjoy and spread human rights, and promotes the core ideas – kindness, empathy and shared humanity – that underpin support for human rights policies.

Free illustration toolkit for your 16 Days of Activism campaign against gender-based violence

Illustration: Anina Takeff for Fine Acts

With the global campaign against gender-based violence (GBV) – 16 Days of Activism – currently underway, we’re equipping hundreds of activists around the world with free powerful illustrations in the countdown to end violence against girls and women. Every year the campaign commences on 25 November – the International Day for the Elimination of Violence against Women – and runs up to 10 December, Human Rights Day.

Our illustration pack of open-license art is meant to serve as an invaluable resource and tool for activists, grassroots organizations and nonprofits from around the world, working towards gender equality. 
It is a broad collection featuring a range of different topics from GBV to sexual health, that we created working with hundreds of artists around the world.

Illustration: Anina Takeff for Fine Acts

Illustration: Jasmina Zornic for Fine Acts

Illustration: Rozalina Burkova for Fine Acts

All works are published under an open license on TheGreats.co, our unique platform for free social impact visuals. This means that all of the illustrations in the Women’s Rights Collection are available to feminist groups, campaigners and educators to use and adapt non-commercially, in order to advocate for a better place for women, girls and trans people. 

The extra awesome thing is that you can change or translate the copy, add new text (or delete it), use different colors – anything really to make it effective in your own context.

Imagery connected to GBV often focuses on portraying the victims of GBV and sexual harassment. There is a grave overrepresentation of this type of imagery – illustrations heavily focus on depicting the violence itself and the result of it (bruises, cuts etc.), and not so much on what women can do, what allies can do, what healthy relationships look like, etc. 

A world without violence is possible and demands unparalleled courage and joint action to make this vision a reality. To gallop faster towards a brighter future, we also need to show how it actually looks like. 

To align with our common vision, our collection focuses on visuals that depict empowerment, including those that showcase healthy relationships in a GBV-free society. 

The collection can be used all year round – for your protest posters at a local rally, flyers you hand out on the street, in your social media posts online or the myriad other ways you mobilize your community. Let’s continue our efforts from 16 to 365 days of activism to advance women’s rights.

We gave sexual health a visual revamp

Illustration: Olga Mrozek for IPPF x Fine Acts

Illustration: Jal Reed for IPPF x Fine Acts

Illustration: Alejandro Ortiz for IPPF x Fine Acts

In 2022, we joined forces with the International Planned Parenthood Federation (IPPF), a global healthcare provider and a leading advocate of sexual and reproductive health and rights (SRHR) for all, to embark on a visual reframing journey to challenge and disrupt how SRHR are communicated around the globe.

In the past years, women’s sexual and reproductive rights have come under threat more and more. We are seeing a major backlash against the very concept of gender equality. In the meantime, huge needs remain – from lack of access to modern contraceptives and abortion care, to lack of adequate relationships&sex education. 

To turn the tide in our favor, it is not enough that we have the facts and reason on our side. It has become imperative that we get better at sharing our messages, foregrounding the values that underpin our work and using language – including visual language – that is more understandable, more inclusive and more effective.

According to behavioral, cognitive and neuroscience insights, opinions change NOT through more information and dry facts – but by empathetic and compelling experiences, visual communications and effective storytelling. That’s where visuals come in: our brains are hardwired for visual content – powerful imagery can help us get attention, facilitate retaining information, and provoke an emotional response and action.

To this end, we first curated two interactive visual communications trainings for 50+ organizations, part of the IPPF network, from all around the world, to equip them with the science of what makes people care and creative campaigning knowhow. The goal; to inspire them to think strategically about their visual communications and campaigning, and to use the power of art for social change.

Illustration: Jordan Schiffer for IPPF x Fine Acts

Illustration: Olga Mrozek for IPPF x Fine Acts

Illustration: Bruna Alves for IPPF x Fine Acts

To support the collective future we are striving for, we also created a new collection of hopeful visual artworks to serve as a tool for educators, activists, organizers and health providers fighting for SRHR around the world, helping everyone access the care they need to live a dignified life, based on respect. For it, we worked with 30 talented artists from around the world, who produced 90+ illustrations on SRHR topics – from abortion care, contraceptive care & sex ed to gender-based violence, gender equality & LGBTQI+ rights! 

All works are published under a specific open license on TheGreats.co, our unique platform for free social impact visuals, so that IPPF’s network and other activists and nonprofits globally can use them in their future campaign work. All illustrations can be used and adapted non-commercially to advocate for a better place for women, girls and trans people. The extra awesome thing is that you can change or translate the copy, add new text (or delete it), use different colors – anything really to make it effective in your own context.

We then did extensive social media A/B testing in three countries to understand what kind of visuals work in different contexts, and produced a report analyzing the results – providing insights, recommendations and tips. Finally, we carried out a series of webinars and interactive workshops where we showed how nonprofits can use the collection, talked about how to work with artists, explored why, how and when to use A/B testing, and consulted them on concrete visual communications materials for campaigns and advocacy efforts.

What to find out more about our trainings? Get in touch with us at hello@fineacts.co and we’ll give you the rundown.