什么是正常的

Barbara Holub
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摘要

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。
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What is normal
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.
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