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The Commodification of Alternative Cultural Spaces SAUC - Journal V4 - N2 Changing times: Resilience The commodifcation of alternative cultural spaces Letícia Cabeçadas do Carmo, [email protected] Luca Pattaroni [email protected] École polytechnique fédérale de Lausanne (EPFL), Laboratoire de sociologie urbaine EPFL | ENAC | LASUR, BP 2131 Station 16, CH-1015 Lausanne, Switzerland Abstract The commodifcation of “alternative” cultural spaces is a process that has started to take place in several European cities, like Lisbon, for instance. This has happened due to the pressure of the real estate market, tourism trends or the austerity measures imposed by Troika, during the global economic crisis (2008). It is in this context that a specifc real estate agency acts in order to create an opportunity for its business, investing in the rehabilitation of buildings and revitalization of certain areas of the city (interstices), supported by decorative aesthetics and an architectural design inspired by cultures of resistance. This strategy of territorial and decorative investment has had a big impact in the city of Lisbon. The reuse of images, buildings and practices related to “alternative” environments leads to the aesthetization of certain architectures – particularly those which host creative and cultural projects, and whose designs and marketing strategies distort political or social meanings. Keywords: Commodifcation, creative city, industrial clusters, Lisbon, aesthetization, alternative Mas a pureza da arte só existe na “sujidade” do mundo, With a simple click we can fnd a cheap fight and quickly sempre foi assim... a arte antes do Modernismo fazia parte realize at the moment we arrive, a few hours later, in Baixa3, do mundo, estava onde as pessoas estavam, nomeadamente that many other people had the same idea. The excess nas grutas, nas forestas, nas igrejas e palácios. of hotels and tourists breaks the exotic charm that was Rui Chafes1 promised online or by friends. We then try to escape the crowd and fnd a more "authentic" Lisbon, forgotten by the "Oh, you are so lucky! I love Lisbon, it's my favorite town!”, global networks; a more characteristic Lisbon, where the I hear every time I refer to this city, as its inhabitant. Its locals “really” live. We head to the historical neighborhoods charm is present in the hills, which defy the steps of the of Alfama and Mouraria – trying to fnd the fado – but we visitor, as well as in the luminous and sunny environment, quickly realize that also fado is already "corrupted", intended almost constant, which contributes to feeding a certain for tourist consumption. exotic imagination related to distant places. The guarantee of a relatively safe country in a disturbed world context2, or We try to explore a little further. We hear about "alternative the afordable prices (accessible for the larger part of the cultural" spaces existing in less central areas. One of them foreigners), have made this city a privileged destination in is called Lx Factory (LXF), whose name evokes both the recent years. The mild climate and the proximity to the sea industrial past of the neighborhood of Alcântara and Andy are also factors of its attractiveness. In addition to these Warhol's factory (which existed in New York in the 1970s4). favorable conditions, there is a whole historical past with lots Located at a former working-class district, between the of stories to tell and monuments to see, refected in historical railway lines and under the bridge 25 de Abril5, this new neighborhoods, beautiful buildings and a stimulating urban “creative district” ofers a series of qualities expressed in the environment, ofering a vibrant cultural ambience. 85 SAUC - Journal V4 - N2 Changing times: Resilience "recipe for success" written by the Canadian urban studies seem to react. We study the map of the site exposed on the theorist Richard Florida (2002): cultural activities and an wall and we move on, trying to fnd our way amongst people economic business supported by the rental of workspaces and cars. to "creative professionals”6. Moreover, at LXF there is a bohemian atmosphere associated with the artistic activities It's Friday evening and there are a lot of people at LXF. There (restaurants, cafes, shops, street market and street art), and are cofee shops and open terraces, live music and a kiosk- a post-industrial spatial environment (landmarked buildings container that sells architecture and design magazines. We of municipal interest where one can fnd remains of the also see a store that sells exotic clothes at exotic prices. It previous activity developed in this place, including diferent is a bit confusing. But the atmosphere is fun and relaxed. types of machines, printers and other objects). This place is like a neighborhood inside a neighborhood, with roads, sidewalks, parking lots, several cofee shops, The main entrance of LXF is not very clear, visitors needing restaurants and shops (img.1). We decide to explore the site. to pass through a narrow and busy street to enter. “Lx Factory” is written over a gate, which is illuminated and Tall buildings are mixed with smaller ones, wide showcases reminds us of the entrance to a cabaret. This brief luminous ofer souvenirs, furniture and design objects. Colorful and theatrical joy is suddenly cut of by a man dressed in murals painted with “street art” can be found at every uniform who controls the entrance. On the left we see the corner, contrasting with the gray walls of the industrial- control room, flled with screens connected to surveillance style buildings. Each mural stands out, signed by the cameras. For a brief moment we hesitate to enter, fearing to artists. The general environment of LXF is bohemian trespass the border of a private land. But the guard does not and artistic, and its buildings reveal traces of the history of its multiple life uses and experiences (img.2). Img 1. The ambiance of Lx Factory; a neighborhood inside of a neighborhood, with roads, sidewalks, car- parking, several cofee shops, restaurants and shops (drawing by Letícia Carmo). 86 SAUC - Journal V4 - N2 Changing times: Resilience 1. Economic crisis and urban interstices as an opportunity happens with the symbols of the "typical things" (like the historical neighborhoods, the fado, or the pastéis de nata7), The aim of this paper is primarily to address the contemporary which are processed and sold at every corner of the city as conditions of production of cultural-creative spaces such merchandise. Afterwards, when trying to get away from this as LXF, concerning their "alternative aesthetics", the links scenario to try to fnd a "more authentic" Lisbon, that traveler to tourism and to municipal policies, to private companies, comes across the industrial sites where old factories are to market logics and to rules. But it is further intended to today being used by people related to the so-called “creative understand all of the previous aspects when they are related professions”. These buildings, victims of the process to each project’s spatial characteristics and architectural of deindustrialization, are today caught in revitalization practices. So, the research that was done – in the context of processes of globalized networks, concerning their function a larger project focused on the subject of “creative cities” and and their visual and spatial aesthetics. “counter-culture” (see acknowledgements) – has adopted a qualitative approach supported by direct observation and a The commodifcation of the «counter » or the « alternative » form of a comparative study that considered several cases culture, and of the spatial environments where they happen, is in diferent European cities. It uses information from diferent a process that has started to take place in Europe, particularly sources (in large part from semi-conducted interviews and in cities like Berlin or Barcelona, for instance. This process informal conversations with the related social actors), and of turning into or treating something as a mere commodity follows diverse visual methodologies of analysis (related to has been discussed by several authors. David Harvey, for photography, sketching, mapping, etc.). instance, refers to cultural products and events (the arts, theatre, music, cinema, architecture, heritage, collective A path that starts with a romanticized idea of a certain city, memories and afective communities), wondering about how a scenario built from a considerable distance (an intangible their status of “special character” can be reconciled with one) has been followed in this introductory text, Then, their status of “commodity” (Harvey 2002, 93). ”Alternative step by step as the person approaches this city and starts Cultural Spaces” (ACS) are places and projects that gather to know it, a process of disenchantment of the imaginary precisely both components: culture and events. Furthermore, that had initially been created begins to take place: frst it Img 2. At Lx Factory, colorful murals painted with “street art” can be found at every corner, contrasting with the gray walls of the industrial-style buildings. 87 SAUC - Journal V4 - N2 Changing times: Resilience these are places where one generally can see artistic objects and by an architectural design inspired by certain cultures and several references to counter-cultures (expressed in DIY of resistance. This strategy of territorial and decorative crafted objects, posters and political slogans). The inherent investment has had, more or less since 2008, a considerable “artistic critique” – that is present
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