This article investigates the idea that sometimes artworks become strange monuments: occasionally to themselves. It begins with an overview of how various artworks have taken on aspects of monumentality, setting up a number of coordinates for thought – energy, appropriation, fiction, resurrection and so on. It then turns to the contested status of Rachel Whiteread’s House (1993), paying attention to the ways in which its potential to endure as a conventional public monument was denied, leaving behind a strange set of digital monuments in its afterlife. It goes on to contrast the tomb-like preservation of Roger Hiorns’ Seizure ([2008] 2013) at the Yorkshire Sculpture Park with the rhetoric surrounding its initial staging in Southwark. This logic of preservation is compared with how Thomas Hirschhorn has revisited his early monument works, and his claims regarding their eternal life.
{"title":"The strange monumentality of some artworks or something","authors":"B. Fitton","doi":"10.1386/aps_00049_1","DOIUrl":"https://doi.org/10.1386/aps_00049_1","url":null,"abstract":"This article investigates the idea that sometimes artworks become strange monuments: occasionally to themselves. It begins with an overview of how various artworks have taken on aspects of monumentality, setting up a number of coordinates for thought – energy, appropriation, fiction, resurrection and so on. It then turns to the contested status of Rachel Whiteread’s House (1993), paying attention to the ways in which its potential to endure as a conventional public monument was denied, leaving behind a strange set of digital monuments in its afterlife. It goes on to contrast the tomb-like preservation of Roger Hiorns’ Seizure ([2008] 2013) at the Yorkshire Sculpture Park with the rhetoric surrounding its initial staging in Southwark. This logic of preservation is compared with how Thomas Hirschhorn has revisited his early monument works, and his claims regarding their eternal life.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"101 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114556119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article applies a multimodal analysis to explore the potential meanings attached to the re-inscriptions of public monuments and spaces produced during the Black Lives Matter protests in 2020. Specific attention is given to several contentious examples: the George Floyd Memorial in Minneapolis, Winston Churchill’s statue in London, and the Queen Victoria statue in Leeds. We reflect on the ephemerality of protest re-inscriptions and how they receive a multimodal ‘second-life’ through their (re)presentations in mainstream/social media. Although institutions of power are quick to remove subversive re-inscriptions from the public sphere, we note that the portrait mural of George Floyd continues to function as a universal shrine to the injustices experienced by the wider Black community. A memorial space which is allowed to linger until its promised transubstantiation into George Perry Floyd Jr Place. In contrast, the other BLM re-inscriptions analysed in this article have now been removed from the physical public sphere, in which their transient messages of protest and public pedagogy will have in some cases been privately and publicly archived digitally on the internet; where evidence is much harder to remove than the public sphere.
{"title":"R WE LOUD ENOUGH?: Re-inscribing monuments in the public sphere by the Black Lives Matter movement","authors":"Jim Brogden, Douglas Harper","doi":"10.1386/aps_00047_1","DOIUrl":"https://doi.org/10.1386/aps_00047_1","url":null,"abstract":"This article applies a multimodal analysis to explore the potential meanings attached to the re-inscriptions of public monuments and spaces produced during the Black Lives Matter protests in 2020. Specific attention is given to several contentious examples: the George Floyd Memorial in Minneapolis, Winston Churchill’s statue in London, and the Queen Victoria statue in Leeds. We reflect on the ephemerality of protest re-inscriptions and how they receive a multimodal ‘second-life’ through their (re)presentations in mainstream/social media. Although institutions of power are quick to remove subversive re-inscriptions from the public sphere, we note that the portrait mural of George Floyd continues to function as a universal shrine to the injustices experienced by the wider Black community. A memorial space which is allowed to linger until its promised transubstantiation into George Perry Floyd Jr Place. In contrast, the other BLM re-inscriptions analysed in this article have now been removed from the physical public sphere, in which their transient messages of protest and public pedagogy will have in some cases been privately and publicly archived digitally on the internet; where evidence is much harder to remove than the public sphere.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133931762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The recent growth of the ‘fallism’ movement, in conjunction with Black Lives Matter (BLM), has seen a surge in the number of plinths that stand vacant across South Africa, the United States and Europe since 2015. This article explores the theme of the empty plinth and interrogates what the significance of absence is. It asks what role empty plinths play in fomenting discussion about historical injustices? And, how these empty plinths can be reactivated or reclaimed in a way that attempts to recognize contested memories and ameliorate contemporary divisions along the lines of race, religion and ethnicity? It considers how the British, Ukrainian and Irish states and their civil societies have variously responded to the problem of what to do with monuments (and their empty pedestals) to individuals and regimes that are guilty of human rights abuses. To draw these conclusions, it looks in detail at three examples of monuments that have fallen over an extended time period and the responses to their empty pedestals: The Edward Colston statue in Bristol, United Kingdom (2020); the Bessarabska Lenin which precipitated the leninfall across Ukraine (2013) and Nelson’s Pillar in Dublin, Ireland (1966).
{"title":"Empty plinths: The significance of absence","authors":"E. Mahony","doi":"10.1386/aps_00048_1","DOIUrl":"https://doi.org/10.1386/aps_00048_1","url":null,"abstract":"The recent growth of the ‘fallism’ movement, in conjunction with Black Lives Matter (BLM), has seen a surge in the number of plinths that stand vacant across South Africa, the United States and Europe since 2015. This article explores the theme of the empty plinth and interrogates what the significance of absence is. It asks what role empty plinths play in fomenting discussion about historical injustices? And, how these empty plinths can be reactivated or reclaimed in a way that attempts to recognize contested memories and ameliorate contemporary divisions along the lines of race, religion and ethnicity? It considers how the British, Ukrainian and Irish states and their civil societies have variously responded to the problem of what to do with monuments (and their empty pedestals) to individuals and regimes that are guilty of human rights abuses. To draw these conclusions, it looks in detail at three examples of monuments that have fallen over an extended time period and the responses to their empty pedestals: The Edward Colston statue in Bristol, United Kingdom (2020); the Bessarabska Lenin which precipitated the leninfall across Ukraine (2013) and Nelson’s Pillar in Dublin, Ireland (1966).","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134027226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In March 2018, following the defeat of the Left Front by the Bharatiya Janata Party (BJP) led alliance in the Assembly elections in Tripura, India, one witnessed the demolition of Lenin’s statue in South Tripura amidst cries of, ‘Bharat Mata Ki Jai!’. The Tripura governor, as a response, tweeted – ‘[w]hat one democratically elected government can do another democratically elected government can undo, and vice versa’ (Karmakar 2018: n.pag.). In May 2019, newspaper reports stated that workers from the right-wing political organization, BJP had defaced a statue of Ishwar Chandra Vidyasagar in Vidyasagar College, Kolkata, India. Of the many criticisms levelled against this incident, one in particular took a nativist and elitist tone and posited that the rally consisted of ‘outsiders’, i.e., people from the neighbouring states of Rajasthan, Uttar Pradesh, Bihar and Jharkhand. As these ‘outsiders’ were not cognizant of Vidyasagar’s contributions to the sociocultural and political fabric of West Bengal, it made them more prone to committing said acts of vandalism. To that end, this article will closely examine the contemporary debates concerning the vandalism and restoration of statues in South Asia, which brings up pertinent questions regarding state power and the narratives propagated in the daily lives of its citizens and the iconographic function of statues which allows for communities, both real and imagined to rally around it. As structures of cultural, religious and political significance rise to the fore with increasing frequency, debates on their utility, significance, allegiance and symbolism are burgeoning with multiple meanings. To that end, in an attempt to historicize said events it is imperative to unpack the categories of culture, religious and political representation and what goes into their production in order to better address the questions: ‘Who is represented?’ and ‘[w]ho gets to represent?’. This article will locate the discussion around how statues are related at once to the mundane, the local and the national and when they are vandalized, how are discourses around communities affected as a result within the contours of cultural and religio-political representation.
{"title":"A bid for memorialization: Negotiating public memory","authors":"Rini Pratik Kujur, Puja Sen Majumdar","doi":"10.1386/aps_00052_1","DOIUrl":"https://doi.org/10.1386/aps_00052_1","url":null,"abstract":"In March 2018, following the defeat of the Left Front by the Bharatiya Janata Party (BJP) led alliance in the Assembly elections in Tripura, India, one witnessed the demolition of Lenin’s statue in South Tripura amidst cries of, ‘Bharat Mata Ki Jai!’. The Tripura governor, as a response, tweeted – ‘[w]hat one democratically elected government can do another democratically elected government can undo, and vice versa’ (Karmakar 2018: n.pag.). In May 2019, newspaper reports stated that workers from the right-wing political organization, BJP had defaced a statue of Ishwar Chandra Vidyasagar in Vidyasagar College, Kolkata, India. Of the many criticisms levelled against this incident, one in particular took a nativist and elitist tone and posited that the rally consisted of ‘outsiders’, i.e., people from the neighbouring states of Rajasthan, Uttar Pradesh, Bihar and Jharkhand. As these ‘outsiders’ were not cognizant of Vidyasagar’s contributions to the sociocultural and political fabric of West Bengal, it made them more prone to committing said acts of vandalism. To that end, this article will closely examine the contemporary debates concerning the vandalism and restoration of statues in South Asia, which brings up pertinent questions regarding state power and the narratives propagated in the daily lives of its citizens and the iconographic function of statues which allows for communities, both real and imagined to rally around it. As structures of cultural, religious and political significance rise to the fore with increasing frequency, debates on their utility, significance, allegiance and symbolism are burgeoning with multiple meanings. To that end, in an attempt to historicize said events it is imperative to unpack the categories of culture, religious and political representation and what goes into their production in order to better address the questions: ‘Who is represented?’ and ‘[w]ho gets to represent?’. This article will locate the discussion around how statues are related at once to the mundane, the local and the national and when they are vandalized, how are discourses around communities affected as a result within the contours of cultural and religio-political representation.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"264 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116451150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyses the statue of General Alexander Macomb, which has stood at the intersection of Washington Boulevard and Michigan Avenue in downtown Detroit since the early 1900s. In recent years, there has been a resurgence of controversy about the statue and the connections of Alexander Macomb to settler–colonial genocide and racial slavery, a dispute which connects larger struggles over controversial monuments to the Black Lives Matter and Idle No More movements. To analyse the rhetorical work of the statue, I engage Richard Marback’s theories of the material rhetoric of monuments in colonial and urban space alongside studies by Katherine McKittrick and others on the relation between settler colonialism and anti-Black racism, to situate the statue within a larger grammar of racial–colonial power that organizes the political geography of the Great Lakes region. Ultimately, I argue that the General Alexander Macomb statue and other colonial monuments serve as nodes binding together material and symbolic geographies of power and suturing slavery to settler colonialism.
{"title":"Macomb must fall: Geographies of conquest","authors":"Walter Lucken","doi":"10.1386/aps_00053_1","DOIUrl":"https://doi.org/10.1386/aps_00053_1","url":null,"abstract":"This article analyses the statue of General Alexander Macomb, which has stood at the intersection of Washington Boulevard and Michigan Avenue in downtown Detroit since the early 1900s. In recent years, there has been a resurgence of controversy about the statue and the connections of Alexander Macomb to settler–colonial genocide and racial slavery, a dispute which connects larger struggles over controversial monuments to the Black Lives Matter and Idle No More movements. To analyse the rhetorical work of the statue, I engage Richard Marback’s theories of the material rhetoric of monuments in colonial and urban space alongside studies by Katherine McKittrick and others on the relation between settler colonialism and anti-Black racism, to situate the statue within a larger grammar of racial–colonial power that organizes the political geography of the Great Lakes region. Ultimately, I argue that the General Alexander Macomb statue and other colonial monuments serve as nodes binding together material and symbolic geographies of power and suturing slavery to settler colonialism.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114238622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The debate surrounding the removal of statues of imperialists, slave owners and slave traders raises the question of how to memorialize sombre historical truths with cultural humility. The House of Slaves on Gorée Island, Senegal, represents the connections of cultural identity, belonging and placemaking reclaimed from the enduring cultural trauma of the Trans-Atlantic slave trade. Using daughtering as a methodology (Evans-Winters 2019: 1), the authors present a discussion about the symbolic nature of art that memorializes a transformational passage shaped by imperialism and racist ideology. The critical relationship between art and culture as embodied in an architectural form is explored through (1) the anthropological notion of belonging as membership and identity, (2) the direct human affective/emotional impact of architecture as art in the social and political issues of past and present and (3) art as an intracultural interaction based in cultural trauma and community spaces. Theoretical Framework: critical race theory. Method: autoethnographic narrative. Results: The House of Slaves speaks of a critical cultural moment that shaped the creation of a new cultural diaspora. This historical structure has become a sacred, spiritual Mecca for those whose ancestors were displaced from continental Africa. The remains of its architectural form reveal the forgotten history of slave exploitation that happened here. This memorial speaks of the continued struggle to make a space safe for Black bodies, Black design and Black identity within the public sphere. The cultural memory of this artefact, and all moments and memorials shaped by imperialism and racism, haunt our present reality. Just as art played a role in celebrating now-outdated narratives, it may also reframe these sombre historical truths. Art can elevate contemporary narratives that embrace cultural humility and speak to cultural competence through the continued first-person experiences of these monuments, spaces and artefacts.
{"title":"Through the House of Slaves: A memorial to the origins of the Black diaspora","authors":"Taneshia W. Albert, Lindsay Tan","doi":"10.1386/aps_00046_1","DOIUrl":"https://doi.org/10.1386/aps_00046_1","url":null,"abstract":"The debate surrounding the removal of statues of imperialists, slave owners and slave traders raises the question of how to memorialize sombre historical truths with cultural humility. The House of Slaves on Gorée Island, Senegal, represents the connections of cultural identity, belonging and placemaking reclaimed from the enduring cultural trauma of the Trans-Atlantic slave trade. Using daughtering as a methodology (Evans-Winters 2019: 1), the authors present a discussion about the symbolic nature of art that memorializes a transformational passage shaped by imperialism and racist ideology. The critical relationship between art and culture as embodied in an architectural form is explored through (1) the anthropological notion of belonging as membership and identity, (2) the direct human affective/emotional impact of architecture as art in the social and political issues of past and present and (3) art as an intracultural interaction based in cultural trauma and community spaces. Theoretical Framework: critical race theory. Method: autoethnographic narrative. Results: The House of Slaves speaks of a critical cultural moment that shaped the creation of a new cultural diaspora. This historical structure has become a sacred, spiritual Mecca for those whose ancestors were displaced from continental Africa. The remains of its architectural form reveal the forgotten history of slave exploitation that happened here. This memorial speaks of the continued struggle to make a space safe for Black bodies, Black design and Black identity within the public sphere. The cultural memory of this artefact, and all moments and memorials shaped by imperialism and racism, haunt our present reality. Just as art played a role in celebrating now-outdated narratives, it may also reframe these sombre historical truths. Art can elevate contemporary narratives that embrace cultural humility and speak to cultural competence through the continued first-person experiences of these monuments, spaces and artefacts.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"34 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124192821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Monuments have historically been erected in western culture to project dominant narratives and political regimes and eliding brutal histories of subjugation on which those regimes have come into, and maintained, power. But over the last decade, several American artists have produced monumentally scaled projects that surface (rather than submerge) those histories. This article argues that these works – referred to herein as antimonuments and discussed through installations by Kara Walker, Mark Bradford and Kehinde Wiley – deploy formal tropes of traditional monumentality to expose the degree to which the rhetorical success of such structures is conditioned on the erasure of otherness, an effect laid especially bare in Confederate monuments that laudatorily memorialize, in a way peculiar to the monumental, the practice of enslavement on the very ground where that practice was enacted, and yet persists long after it was extinguished. By explicating the imbrications of the contemporary moment in genealogies traceable to the transatlantic slave trade, these contemporary anitmonuments intervene on what Fred Moten (2018a: 58) calls the ‘ongoing, irregularly disrupted avoidance of looking at oneself’ that characterizes whiteness and which is reified through historical, particularly Confederate monuments. I attend to the material, formal and historical origins of these objects to suggest that these contemporary projects instantiate the ‘habitation and recitation’ (Moten 2017: 257) of questions regarding the relationship between representation, marginality and access to power, and to give form to the various ways in which the present moment is inescapably shaped by the transatlantic slave trade and its afterlives.
{"title":"Ruptured structures: Race and representation in contemporary antimonuments","authors":"Catherine J. Dawson","doi":"10.1386/aps_00051_1","DOIUrl":"https://doi.org/10.1386/aps_00051_1","url":null,"abstract":"Monuments have historically been erected in western culture to project dominant narratives and political regimes and eliding brutal histories of subjugation on which those regimes have come into, and maintained, power. But over the last decade, several American artists have produced monumentally scaled projects that surface (rather than submerge) those histories. This article argues that these works – referred to herein as antimonuments and discussed through installations by Kara Walker, Mark Bradford and Kehinde Wiley – deploy formal tropes of traditional monumentality to expose the degree to which the rhetorical success of such structures is conditioned on the erasure of otherness, an effect laid especially bare in Confederate monuments that laudatorily memorialize, in a way peculiar to the monumental, the practice of enslavement on the very ground where that practice was enacted, and yet persists long after it was extinguished. By explicating the imbrications of the contemporary moment in genealogies traceable to the transatlantic slave trade, these contemporary anitmonuments intervene on what Fred Moten (2018a: 58) calls the ‘ongoing, irregularly disrupted avoidance of looking at oneself’ that characterizes whiteness and which is reified through historical, particularly Confederate monuments. I attend to the material, formal and historical origins of these objects to suggest that these contemporary projects instantiate the ‘habitation and recitation’ (Moten 2017: 257) of questions regarding the relationship between representation, marginality and access to power, and to give form to the various ways in which the present moment is inescapably shaped by the transatlantic slave trade and its afterlives.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"384 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123360421","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this opening article, we explore how the Black Lives Matter (BLM) movement challenges the traditional norms and conduct of the bourgeois public sphere. Ahmed argues how the White male body is abstracted in order to achieve a universal status (Ahmed) and how his ‘invisibility’ is his power; the socially constructed ‘invisibility’ of whiteness forces those people considered to be of colour to be ‘marked and highly visible’ (Purwar). We assert that this abstracting of whiteness, along with the dominance of rational debate leads to the patriarchal practices of the bourgeois public sphere. Utilizing Papacharissi’s concept of ‘Affective Publics’, we examine the extent to which the online and offline activities of the BLM movement – including the toppling of statues – charge social media with the capacity to act as a fully fledged public sphere. We conclude that the BLM movement exemplifies a mode of public participation that outstrips conventional thinking on the bourgeois public sphere and therefore can be taken as model for radically rethinking what a public sphere ought to be.
{"title":"Toppling statues, affective publics and the lessons of the Black Lives Matter movement","authors":"D. Beech, M. Jordan","doi":"10.1386/aps_00045_3","DOIUrl":"https://doi.org/10.1386/aps_00045_3","url":null,"abstract":"In this opening article, we explore how the Black Lives Matter (BLM) movement challenges the traditional norms and conduct of the bourgeois public sphere. Ahmed argues how the White male body is abstracted in order to achieve a universal status (Ahmed) and how his ‘invisibility’ is his power; the socially constructed ‘invisibility’ of whiteness forces those people considered to be of colour to be ‘marked and highly visible’ (Purwar). We assert that this abstracting of whiteness, along with the dominance of rational debate leads to the patriarchal practices of the bourgeois public sphere. Utilizing Papacharissi’s concept of ‘Affective Publics’, we examine the extent to which the online and offline activities of the BLM movement – including the toppling of statues – charge social media with the capacity to act as a fully fledged public sphere. We conclude that the BLM movement exemplifies a mode of public participation that outstrips conventional thinking on the bourgeois public sphere and therefore can be taken as model for radically rethinking what a public sphere ought to be.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"172 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122043515","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Snap!: Photography as a monument to anti-racism in Britain","authors":"C. Tulloch","doi":"10.1386/aps_00050_3","DOIUrl":"https://doi.org/10.1386/aps_00050_3","url":null,"abstract":"","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132858389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The text discusses the role of art engaging in current urban issues, and how critical spatial practice and artistic-urbanistic strategies can contribute as durational involvement (see Paul O’Neill) to direct urbanism – for promoting a more just society by a socially engaged urban planning and development. The two projects 'NORMAL' and 'Harbour for Cultures' presented in this text address questions of what is considered 'normal' in our current society – which is characterized by the unplannable and increasing fears fueled by right wing demagogy. Rather than resigning in helplessness or fear – on the contrary, transparadiso considers this a unique chance to question dominant values of society driven by neo-liberal economics for re-introducing shared values of living together as social beings, for creating new, inclusive communities beyond cultural borders and thus counteracting the increasing isolation based on fear. Both projects exemplify participatory strategies like the 'production of desires' for producing programs beyond the functional, enhancing also poetic moments as non-recognized value in urban planning, and discuss how dialogues (see 'dialogical art', Grant Kester) can be created between conflicting interests. At the same time the projects make use of the 'autonomy of art' as inherent quality of approaching burning issues of society from an angle of the non-functional, the non-efficient – thus counteracting the dominant claims of decision making in our contemporary globalized society.
本文讨论了艺术参与当前城市问题的作用，以及批判性空间实践和艺术城市战略如何作为持续参与(参见Paul O 'Neill)来指导城市主义-通过社会参与的城市规划和发展来促进更公正的社会。本文中提出的两个项目“NORMAL”和“Harbour for Cultures”，探讨了在我们当前社会中什么是“正常”的问题——这个社会的特点是不可计划的，右翼蛊惑人心的恐惧日益增加。而不是在无助或恐惧中辞职-相反，transaparadiso认为这是一个独特的机会，可以质疑由新自由主义经济学驱动的社会主导价值观，重新引入作为社会存在而共同生活的共同价值观，创建超越文化边界的新的包容性社区，从而抵消基于恐惧的日益孤立。这两个项目都体现了参与性策略，如“欲望的生产”，用于生产超越功能的项目，增强城市规划中未被认可的诗意时刻，并讨论如何在冲突的利益之间创造对话(参见“对话艺术”，Grant Kester)。与此同时，这些项目利用“艺术的自主性”作为从非功能、非效率的角度来处理社会紧迫问题的内在品质，从而抵消了我们当代全球化社会中决策的主导主张。
{"title":"What is normal","authors":"Barbara Holub","doi":"10.1386/APS_00030_7","DOIUrl":"https://doi.org/10.1386/APS_00030_7","url":null,"abstract":"The text discusses the role of art engaging in current urban issues, and how critical spatial practice and artistic-urbanistic strategies can contribute as durational involvement (see Paul O’Neill) to direct urbanism – for promoting a more just society by a socially engaged urban planning and development. The two projects 'NORMAL' and 'Harbour for Cultures' presented in this text address questions of what is considered 'normal' in our current society – which is characterized by the unplannable and increasing fears fueled by right wing demagogy. Rather than resigning in helplessness or fear – on the contrary, transparadiso considers this a unique chance to question dominant values of society driven by neo-liberal economics for re-introducing shared values of living together as social beings, for creating new, inclusive communities beyond cultural borders and thus counteracting the increasing isolation based on fear. Both projects exemplify participatory strategies like the 'production of desires' for producing programs beyond the functional, enhancing also poetic moments as non-recognized value in urban planning, and discuss how dialogues (see 'dialogical art', Grant Kester) can be created between conflicting interests. At the same time the projects make use of the 'autonomy of art' as inherent quality of approaching burning issues of society from an angle of the non-functional, the non-efficient – thus counteracting the dominant claims of decision making in our contemporary globalized society.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125894437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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