By Nicolas Whybrow
To Henri Lefebvre, the distance and "lived everydayness" of the inter-dependent, multi-faceted urban produces manifold probabilities of identifiction and recognition via frequently imperceptible interactions and practices. paintings and the town takes this statement as its cue to envision the position of artwork opposed to a backdrop of worldwide emerging city populations, taking into consideration the newer performative and relational "turns" of paintings that experience sought of their urban settings to spot a partaking spectator -- an implicated citizen. In exploring how works of art current themselves as a method through which to navigate and plot the town for a writing interlocutor, Nicolas Whybrow discusses assorted examples, representing 3 key sleek modalities of city arts perform. the 1st, strolling, comprises works by means of Richard Wentworth, Francis Al?s, Mark Walllinger and others, the second one, play, contains artwork via Antony Gormley, Mark Quinn and Carsten H?ller. The 3rd, cultural reminiscence, Whybrow addresses throughout the debatable city holocaust memorial websites of Peter Eisenman's memorial in Berlin and Rachel Whiteread's in Vienna.
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Additional resources for Art and the City
Staking his position on the city as the place in which use value is potentially preserved, resisting its subordination to exchange value – ‘an urban reality for “users” and not for capitalist speculators’, as he puts it (1996: 167–8) – Lefebvre outlines his desire to ‘restitute the f eˆ te by changing daily life’ (168). In Right to the City, which, as the title suggests, polemically asserts the urban dweller’s claim to participatory citizenship, he writes that such a ‘renewed f eˆ te’ was ‘fundamentally linked to play’ and involved, in an echo perhaps of Hall’s ‘modernism in the streets’, ‘subordinating to play rather than to subordinate play to the “seriousness” of culturalism [.
India’ is located not only in India but also in the Gulf States, in London, in the Caribbean and in your street. ‘America’ is to be found all over the world, although less and less often in the United States. (in Brouwer 2002: 9) The Internet and electronic media generally have not just facilitated global communication networks but have, of course, become sites themselves. 24 At the same time, actual cities have been recreated virtually, again for a range of reasons whether that be to replicate or enhance the tourist experience, as backdrop for game-playing scenarios, or for archaeo-historical research purposes.
A human claim to stability’ (33). For Appadurai, then, reconciling these two experiences is the principal challenge to imagining a global future for cities. 6875in IBBK018/Whybrow ISBN: xxx x xxxxx xxx x October 8, 2010 2 Relational writing SPATIAL PRACTICE My interest in the notion of relationality extends beyond that which may be attributed strictly to the socio-aesthetic principles set out by Bourriaud (or, indeed, discontented adaptations of his theory). For me the term presents an opportunity to view art as containing the potential to be seen to be doing work or to be ‘serious play’ – as performing contextually, if not necessarily in context – as well as for that work/play to be seen to come about, or come into its own, as the product of an encounter with an interlocutor or spectator.