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Part-Urbs-Anthology.Pdf participatory urbanisms an anthology Edited by Karin Shankar and Kirsten Larson part-urbs.com part-urbs.com This publication has been supported by the Andrew participatory W. Mellon Foundation’s Global Urban Humanities Initiative at the University of California, Berkeley. urbanisms Editors: Karin Shankar and Kirsten Larson an anthology Cover image: Kirsten Larson. São Paulo, Brasil Book design: Kirsten Larson ISBN: 978-0-9969180-0-8 (print) ISBN: 978-0-9969180-2-2 (digital) Copyright 2015 Edited by University of California, Berkeley Karin Shankar and All rights reserved Kirsten Larson CONTENTS Acknowledgments.......................................................................................................................2 [ Forms in Images ] ‘Space to Wrestle With:’ Social Practice in Gurgaon Alex White-Mazzarella, Namrata Mehta and Soaib Grewal................................................148 An Introduction to P[art]icipatory Urbanisms Karin Shankar and Kirsten Larson............................................................................................3 Curating Publics [ Annotations ] Windows on an Urban Village: Research Notes from a Black Urbanist Participation and Antagonism in Shaina Anand’s ‘KhirkeeYaan’ Ronald Morrison.......................................................................................................................10 Rattanamol Singh Johal............................................................................................165 invisible Zürichs: Memory and the City-Body Multiplicity of Knowledges in Socially-engaged Art Practice Cecilie Sachs Olsen.....................................................................................................181 Ghetto Biennale and “Jalousie en Couleur”: Seeing in the Dark: The Politics of Post-Earthquake Aesthetics in Port-Au-Prince Unearthing Batumi’s Hidden Backyard Treasures Carolyn Duffey............................................................................................................10 Lydia Matthews..........................................................................................................193 Fugitive Moments and Public Memory: An Improvised Memorial for Suspected Illegal Entry Vessel X in Canberra [ Urban Prose ] Rebecca Caines............................................................................................................45 Basketball Now! Reimagining Fluidity: Layla Forrest-White.................................................................................................................208 Colliding Bodies and Architecture at the Vietnam Veterans Memorial Ying Zhu......................................................................................................................57 Ruptures in Neoliberal Space The “Good Death” of Buildings: Filling Gaps in Post-Earthquake Christchurch Heidi Elisabet Käkelä.................................................................................................73 Assemblages of Difference: Place-making and Utopian Agonism on the Open-Air House Music Dance Floor Kavita Kulkarni..........................................................................................................219 [ Conversations ] ‘O collective Happening’ in Shanghai: Spacehacking as Praxis “Loose Space,” Participation, and what Sustains between Instantaneity and Permanence Nathan John.............................................................................................................................84 Chiayi Seetoo.............................................................................................................237 Squatting in Non-Spaces: Queering Art and Identity in Global China’s Guangzhou Austerity Politics, Participation, and Occupation Jenny Lin....................................................................................................................255 Negotiating Informality: Making of the Indignant Citizen: Social and Economic Strategies of Food Vendors in San Francisco’s Mission District Politics, Aesthetics, and Housing Rights in Madrid and Rome Ginette Wessel and Sofia Airaghi............................................................................265 Andreea S. Micu........................................................................................................103 Critical Performance Spaces: Participation and Anti-Austerity Protests in Athens [ Planning Cases ] Gigi Argyropoulou....................................................................................................115 Negotiating Bottom-Up in San Francisco Antje Steinmuller....................................................................................................................282 Participatory Aesthetics and Makeshift Urbanism: Cases of Guimarães, Cova do Vapor, and Terras da Costa Joana Braga.................................................................................................................129 Contributing Authors............................................................................................................297 Acknowledgments P[art]icipatory Urbanisms has been built on the generous contributions of a wide network of scholars, activists, artists, urban organizations, and urban professionals, including faculty and graduate students at UC Berkeley and other universities who served as anonymous reviewers for the anthology. Research for and production of this publication was made possible through a generous grant from the University of California, Berkeley Global Urban Humanities Initiative (GloUH), which is supported by the Andrew W. Mellon Foundation. Special thanks to the principal investigators of GloUH, Jennifer Wolch and Anthony J. Cascardi; GloUH project director Susan Moffat and project assistant Genise Choy; UC Berkeley Professors SanSan Kwan and Rudabeh Pakravan; researchers and editorial assistants Utsa M. Hazarika and Annie Malcolm; web developer Brian Cerceo; and to the Townsend Center Working Group on the Politics and Aesthetics of Urban Participation. 1 2 An Introduction to P[art]icipatory Urbanisms Karin Shankar and Kirsten Larson P[art]icipatory Urbanisms is a peer-reviewed publication interrogating the “participatory aesthetic as they are political, in that they entail a re-ordering of the field of urban experience turn” in contemporary urban studies, performance studies, and art practice. The current and perception (here, we consider an older meaning of the word ‘aesthetic,’ as simply revival in participatory, collaborative, relational, and democratic practices in the realms of ‘perceptible to the senses.’). Contemporary movements from Occupy to #BlackLivesMatter urban art and planning is, in some ways, a harkening back to participatory ideas of the 1960s.[1] attest to this. However, given the diverse arenas in which participatory urban activity has been proliferating in the past two decades—including within a range of public, private, civil society, and hybrid Articles in this anthology offer critical tools from across the humanities and social sciences, formations—participation itself as mode of engagement must be examined as a critical terrain and research diverse geographic and temporal sites, to expand methodological and theoretical of negotiation between state, society and market forces. The articles in this anthology track debates around themes of urban participation and its entanglement with state power, aesthetic the form such negotiations take across divergent sites and from interdisciplinary perspectives, praxis, racialized and queer spaces, citizenship, temporality, publics, and infrastructure. The to assess the radical promise and potential pitfalls of ‘participation’ in the realms of urban art anthology is divided into four sections: Memory and the City-Body; Austerity Politics, and politics today. Occupation, and Performance; Curating Publics; and Ruptures in Neoliberal Space. Critical connections also surface across thematic groups and keywords for urban theory are Participatory art projects are generally considered to be those in which the conventional repeated and variously defined or recast as they meet different disciplinary frames. Such relationship between art object, artist, and audience is subverted. As Claire Bishop defines it, keywords include: publics, counter-hegemony, agonism, memory,occupation, participation, “the artist is conceived less as an individual producer of discrete objects than as a collaborator infrastructure, cooptation, amongst others. and producer of situations; the work of art as a finite, portable, commodifiable product is reconceived as an ongoing or long- term project with an unclear beginning and end; while Memory and the City-Body the audience, previously conceived as a ‘viewer’ or ‘beholder’, is now repositioned as a co- The four articles grouped under the theme of Memory and City-Body theorize the labor producer or participant.”[2] In urban participatory art projects the ‘object’ being produced of memorializing or remembering, differently. In her article “Ghetto Biennale and Jalousie is also an altered relationship to urban space. Critics of participatory art, though, see this en Couleur: The Politics of Post-Earthquake Aesthetics in Port-Au-Prince” Carolyn Duffey as a compromised form, for it is ruled by the “external” or heteronomous interests of describes a “Ghetto Biennale” and a community mural—both of which draw from the communities, organizations, local governments, etc. rather than being created within an spiritual and aesthetic practices of vodou—in
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